ON STAGE The Summer 2008 newsletter of Vol.9 No.1

Stars come out for the Palais

atchdog group for the St Kilda their plan was announced. around one million dollars has already triangle development, unChain UnChain St Kilda is a diverse group been pledged. WSt Kilda, has come to the aid of campaigning for an urgent rethink of the Each donor has already picked out their the , and is recruiting stage, overall development of what is known as favourite seat and if each seat was sold in screen and rock stars into the action. the St Kilda triangle. this way the result would be $13.5 million Actor Rachel Griffiths, a St Kilda native Already the group Human Nature, with which to refurbish the heritage theatre. now resident in , and her performers Bruce Springsteen, Shannon Noll, By doing so, unChain St Kilda says, the mother Anna Griffiths, unChain St Kilda’s David Campbell, and Rachel Griffiths pressure to pay for renovations will be taken spokeswoman, have hit on the idea of herself, have promised their financial support, off the St Kilda triangle developers, Citta raising money to restore the theatre by selling unChain St Kilda reports. Promoter Paul Properties, obviating the need for around its 2700 seats at $5000 each. They led a Dainty has confirmed that the Rolling 180 shops, pubs and nightclubs in the * rally at the theatre on 28 December when Stones would add their support. A total of

Twin icons: The Palais Theatre, St Kilda, with its neighbour, Luna Park. (Picture: Frank Van Straten) development and thereby reducing the need for an over-sized project to pay for it. Citta’s contentious proposal for the site has drawn strong criticism for its extent and form, earning it the epithet of Chadstone-by-the-Sea. ‘The Palais’ grandeur has worldwide appeal,’ Rachel Griffiths says. ‘We are not anti-development. We just want appropriate development, and we think a third of the existing plan is about right.’ She also urged the State Government to make a significant financial contribution. ‘I know schools and hospitals need funding, but this site is worthy of state investment. is a great example of where government funds have created a public space that is loved and used by the people of .

‘There is no good reason for the Rachel Griffiths launches unChain St Kilda’s Palais rescue program on 28 December 2007 (picture Government to continue its opposition to courtesy Serge Thomann). Right: Interior of the Palais Theatre, c.1930, little changed today. funding the Palais refurbishment, especially when it continues to underwrite the Grand Prix to the tune of $75 million,’ she said. Day’s argument is challenging. So is the 2 Funding for the Palais by the State reduced in size, in which case there would is the current intention. A competition for improvement to disabled access provisions Actors Guy Pearce, Magda Szubanski and figure of $20m that Citta says will be needed. Government. They have been asked, but be no hindrance to construction on the rest the design of the whole site could be held and other amenities. Jane Turner, and singers Paul Kelly, Kate No detailed budget has been released. Experts this source is considered unlikely, given the of the Triangle site proceeding immediately. before the land was sold so the intending n The Palais Theatre’s infrastructure will be purchaser would have confidence that Ceberano and Tim Rogers have signed a letter say that the Palais is not in bad shape, and current intransigence and funding priorities If this option were adopted, it is unChain St fully upgraded including new building development approval would follow without to Federal Minister for the Arts Peter Garrett, that the figure has been exaggerated. of the State Government. Kilda’s opinion that joint federal, state and services, structural remediation of degraded any adverse public reaction. urging him to intervene. , UnChain St Kilda has asked the City of 3 Funding or part-funding by the private funding would be quite likely. elements and a new roof. This option would not require such Spencer McLaren, Renee Geyer and comedian Port Phillip council for clarification of Federal Government. An appeal has been This option would not require a new Ancillary facilities, such as back-of-house substantial excavation of the site, nor the Dave Hughes have added their support. several key points: made through Minister for the Arts, Peter tendering process. and VIP areas, function spaces, new toilets, need to encroach under the Upper Esplanade. The Palais Theatre, which for many n What is the tenancy agreement? To Garrett, as the Palais is on the Commonwealth 6 Sale of part of the Triangle site to fund As a result it would have a much shorter lift services and other supporting years has been an attractive and efficient whom does the revenue flow? Register of the National Estate. This source the Palais. An independent valuation of the time scale to completion. infrastructure will be provided in the new n site commissioned by unChain St Kilda major venue for everything from rock concerts What if the venture is unsuccessful? is also considered unlikely for political reasons, It would also probably require State adjoining development, with breakthrough to grand , has become the focus of Who pays? although part-funding could be possible in estimates the value of the land to be $1500 Government agreement and the end of the links into the Palais Theatre interior. This community protests at the proposed n Who is responsible for maintenance combination with private funding. to $2000 per square metre. The total area of current arrangement with BBC. strategy of supplementing the old with new redevelopment of the site. and associated costs? 4 Funding by private donors. This source the site is in the order of 39 000m2 metres will preserve the integrity of original fabric What Citta says On 25 May 2007 the State Government n Has there been an is considered possible. The restoration of the so excising 10 000 square metres or roughly while enabling the Palais Theatre to deliver and the announced that independent assessment supporting Regent Theatre was achieved by private a quarter of the site and selling it as freehold n Our priority is to strengthen and reinvigorate levels of comfort, safety, services and Citta Group in conjunction with Babcock Citta’s claim that refurbishment would funding so unChain St Kilda has set up the land would result in a gain of $20 million. the Palais Theatre for regular use as a 3000- performance capabilities to modern expectations. and Brown (BBC consortium) had won the cost $20m? Palais Foundation to explore this option. One This could be used to restore the Palais. An seat performance venue used primarily for n The proposed extensive refurbishment and rights to lease and redevelop the triangle The Palais is still accepting bookings. It million dollars has already been pledged. outline feasibility study by an experienced live performances and with an enhanced the associated new facilities represent a site and manage the Palais Theatre. is currently on a short term tenancy 5 Leaving the restoration of the Palais until developer suggests that one nightclub/music capacity for screening cinema. Additional substantial investment by our consortium in The full implications of the Citta plans between the City of Port Phillip and Citta, funds become available. This is considered venue (to replace the Palace) and a number flexibility will be incorporated allowing a the Palais Theatre. We are confident this variety of seating capacities down to a 350 were revealed when architecture which has sublet it to a management group. a quite practical option — the reduced size of restaurants and bars would be a likely mix investment will ensure the long-term critic Norman Day pointed out that the cost of the development resulting from taking that would justify such a land price. If car seat cinema mode. The orchestra pit will be What unChain St Kilda sustainability of this priceless community asset. of refurbishing the theatre — said to be the Palais Theatre out of the development parking is considered necessary, it could be renovated to allow theatre productions in says: Search for the golden $20m — would have to come from intensive equation is then a realistic possibility. located in a basement. The balance of the addition to the current live music performances. chandelier retail development of the rest of the site. These are six options identified by unChain There is a strong heritage case that the site could be transformed into a landscaped n The refurbishment of the Palais Theatre Day suggested that as the Palais is a St Kilda for the future of the Palais Theatre: Palais should be left free-standing the way it garden for public recreation, with a children’s will retain the gritty ambience, style and The Executive Director of Heritage , character for which it is known most fondly. public venue on crown land, any costs 1 Restore the Palais as part of the Triangle has always been, without any buildings playground, a kiosk, along with space for Ray Tonkin, has announced that the search is Original heritage elements of the building’s associated with its refurbishment should development. This is not considered an ideal against the southern and western sides. This the Spiegeltent, the Cirque du Soleil, or some on for a number of fixtures, including the foyer fabric, lost over time, will be reinstated come from government sources. Relieving option as it has been amply demonstrated is reinforced by the Urban Design Framework similar entertainment on a regular basis. chandelier, that have been removed from the including the outdoor portico (currently the developers of the refurbishment would that it results in a retail and nightclub and the views from the Upper Esplanade It might be argued that public land Palais Theatre without permission. makeshift offices) above the front entry. allow less intensive and more sympathetic development that is far too large and which which it set out to protect. Both these should not be sold and alienated, but this ‘The Palais Theatre is included in the Provision will be made internally for new bars, reworking of the rest of the area. does not meet with community approval. aspects will be easier when the project is solution would result in far less disconnection Victorian Heritage Register and receives the of the whole site for upwards of 99 years as merchandising sales points and a major highest level of heritage protection in the * Page 2 ON STAGE Summer 2008 Page 3 state,’ Mr Tonkin says. ‘Therefore, under the Well worth the waiting Heritage Act 1995, it is an offence to remove any part of a registered place without a permit It’s 50 years since the Australian première of Samuel Beckett’s Waiting for Godot at the Arrow Theatre, Middle first issued by Heritage Victoria.’ Park. Its director, Peter O’Shaughnessy, documents this and his later productions of the iconic masterpiece. Penalties for such an offence range from over $250 000 for an individual to ove$500 000 n 1959, in a letter to me from , with sandwich boards and walked The had established its worth in London and for a body corporate. wrote: ‘Last week’s Block to advertise Godot. Most of the critics was at last being seen in and, with ‘As the State Government’s principal ISunday Times carried a photograph of a (as we had expected) didn’t much like reservations, praised the performance. agency for heritage conservation, Heritage student production of Waiting for Godot and Beckett’s masterpiece. It was reported to As had happened at the London première, Victoria is investigating the offence, with the I was practically bowled over by a dense me that, at the interval, a disgruntled some of the audience walked out, and my aim of reinstating the fixtures as soon as wave of nostalgia for the play. I don’t think H.A.Standish of The Herald had leaned mother — who, it so happens, was a doctor’s possible,’ Mr Tonkin says. our lives can ever be the same after the across to Robert Money of The Listener In wife and was on the box-office — told me Links: second entrance of the Boy. I like to try and and asked him: ‘Are you staying?’ In the that an indignant woman had come up to www.unchainstkilda.org [check banner] relive that extraordinary Godot existence in event, they appeared to have stuck it out: her protesting: ‘I am a doctor’s wife, and * www.stkildatriangle.com.au (Citta’s site) the same way in which one tries to conjure in his critique published the next day, back childhood.’ Standish made no bones about the fact that In July, 1957, he had been in he thought the play might be a kind of hoax. Another of St Kilda’s outstanding theatres, playing in the Philip Street Theatre revue The critic of the Melbourne Sun News- the Astor, has been rescued from danger Around the Loop. After 18 months of such Pictorial wrote: ‘So engrossing and well-done and saved to shine another day. See story trivia, he was at the end of his tether and is this extraordinary adventure by Samuel on page 13. n beginning to hit the bottle. Beckett regimented by Peter When I wrote to him from Melbourne O’Shaughnessy’s tender asking him if he would like to play Estragon care, that for me the in what would be the Australian première evening passed by honours of Waiting for Godot, he was fired by the idea on wings.’ Bruce The following honours were granted to Australians with an interest in theatre, cinema or performance, and set about various ruses aimed at Grant, The Age on Australia Day, 26 January 2008: persuading the management to release him critic, hailed of roles including teaching and professional Susan Kathleen Milliken AO, Queens Robert John Steel OAM, Parkes, NSW, for from his contract. When these didn’t work, the production development functions. Park, NSW, for service to the film and service to the community of Parkes through he turned to a solicitor and the management of a play television industry, as an advocate for the William Bede Gleeson OAM, Tamworth, establishment of the Elvis Festival and let him go. which he development of the industry, for support NSW, for services to the community services through a range of other August 1957 began a year which would knew and encouragement of indigenous film through music. community organisations. probably prove to be the most fruitful of makers, and as a producer. our artistic lives. Soon after rehearsals had Paul Clement Hammond OAM, Balwyn Kathleen Anne Waddell OAM, East begun, we were captured by the Godot Joseph Alexander Skrzynski AM, AO, North, Vic., for services to the development Maitland, NSW, for service as a church ‘music’. Where had we heard it before? NSW, for visionary leadership and and promotion of dance, as performer, organist, choir director and music teacher. Why it was all around us — in the street, on management strategies as Chairman of the choreographer and teacher. Trevor Phillip Ward OAM, North Ryde, the tram, in pubs, people were often talking Trust, mentoring NSW, for Ryde community service through in the fractured syntax and rhythms of the Australian film makers, to business and Elizabeth Anne Raupch OAM, McLaren a range of youth, musical, church and play: the ping-pong monosyllabic dialogue support for indigenous scholarships. Vale, SA, for service in the areas of education, administration and training to educational organisations. in which Vladimir and Estragon talked to Adrian Gratiaen Collette AM, Kirribilli, the visual and performing arts. one another, far from being mannered or Leonard Norman Webb OAM, NSW, for service to the performing arts, eccentric, was the way most people talked. Sister Helen Margaret Ryan OAM, Thornleigh, NSW, for service to the film particularly for executive roles with Opera With his fine ear, Beckett seemed to have Warrawee, NSW, for services in the field of industry, particularly through the Motion Australia, as a mentor to young artists, to been the first to pick it up, break free from choral music. Picture Industry Benevolent Society of New publishing, and to the community. the straits of what had been accepted as South . Leonard Spira OAM, Sunshine Beach, Qld, conventional ‘demotic’ speech and tune Carol Odell AM, Cremorne, NSW, for Diedre Ann Williams OAM, Aldgate, SA, into the real thing. services to children’s literature as an author, as a contributor to the early development of as an administrator for a range of arts My season of King Lear had just finished scriptwriter and presenter. opera in Melbourne and establishing and directing a range of musical groups in organisations in South Australia, to the and I needed no induction into the climate Yvonne Estelle Bird OAM, Doncaster, Sydney and the Noosa district. development of arts policy, and support for of the play. We were thrilled with Godot. We Vic., for service to the National Boys Choir youth arts and children’s theatre. didn’t talk much about what it meant; we Waiting for Godot, Lorraine Anne Steel OAM, Parkes, NSW, of Australia and the Heidelberg Ladies’ knew what it meant. Far from being a Arrow Theatre, Middle Park, 1957 for services to the community of Parkes John Philip Woodruff OAM, Cooge, Probus Club. depressing work, it was luminously beautiful. Barry Humphries (Estragon) with the establishment of the Elvis Festival NSW, for service to the popular music As opening night approached, dressed Peter O’Shaughnessy (Vladimir) Lorraine Blackbourn OAM, Viewbank, as well as through a range of other industry, particularly as a manager, as the two tramps, we saddled ourselves Vic., for service to ballet, through a range community organisations. promoter and mentor of musical acts. n

Summer 2008 Page 5 Page 4 ON STAGE there is a man up there on that stage In the week before we opened, when themselves in one of Dante’s circles. suffering from a venereal disease.’ dusk had fallen, Barry and I stalked Martin Retrospectively that might justify this In her eyes, I had been so closely identified Place, Castlereagh and Pitt Streets to give glorious folly, although it never crossed my with the character that she must have assumed warning that, with Godot, a theatrical bomb mind at the time. that it was I who was afflicted. Actually, I have had been planted and was about to go off. The average nightly attendance for the always assumed that it is a sudden need to Tiny oval stickers with ‘Godot’ emblazoned Sydney season was about one quarter. have a piss, brought on by his prostate trouble, on them were slapped on telegraph poles, Sydney critics, in general, were far from that causes Vladimir to bend over and clutch shop windows and solicitors’ and doctors’ being blind to the worth of the play. Here his pubis before making a dash into the wings brass plates; and in a final crescendo of are some extracts from what they wrote: to relieve himself. revolutionary zeal, on the walls of the very ‘The amazing thing is that Beckett packs The first week of the Godot season had alleyway that led to the stage door of the the deadly counterpoint of these things houses of about a quarter; for the second . with grotesque laughter, and producer week, as word of mouth got around and the In Sydney, we enjoyed ourselves hugely, Peter O’Shaughnessy and his players never play became a topic of high excitement extravagantly. In Melbourne Barry had missed a laugh or a point’ (The Mirror); ‘For among artists, writers and musicians, business designed and executed the set for Godot, Beckett’s spokesmen he uses two filthy picked up dramatically and attendances having raided back yards and cobbled lanes tramps extremely well played by Peter rose to about three-quarters of O’Shaughnessy and Barry Humphries… capacity. they provide some brilliant theatrical In May 1958 I took Waiting for The lady was in essence the Amazonian shocks’ (The Sydney Morning Herald); Godot and The Bunyip and the Edna Everage who would bestride the ‘The directing and acting were of Satellite, the children’s play that I extremely high standard… Peter had co-authored and directed a stage with her sublime platitudes and O’Shaughnessy, who also produced the few months before, to the bring the roof down…at the New play, and Barry Humphries, do in Sydney splendid work as a couple of human for a fortnight’s season. Our little Theatre in Melbourne just a year later. derelicts’ (The Daily Telegraph); ‘This little troupe travelled the 800-odd trimmer turned up at the Independent, kilometres by the Daylight Express. With for their spoil. As though in a Miro-like North Sydney, last week, and is so tender care, Barry and I deposited Arthur bowl, these were suspended from the flies; outrageously offensive, so intellectually Boyd’s rolled backdrop in the corridor, and rusty tin cans, a bicycle wheel, an old pram fascinating and so superbly acted and presented from time to time left our compartment to and other junk seemed to defy the laws of that you really can’t say you haven’t seen it’ see that all was well with it. It was, in fact, gravity and were meant to suggest the (The Bulletin). In his summarising review of the drop for my 1955 production of Love’s detritus of civilisation. But the effect had the past year in the theatre, the same Bulletin play — in French, for God’s sake!’ a tragicomic elegy on “the human condition”, Left to right: Barry Humphries (Estragon), Peter Labour’s Lost which, for reasons of economy, been too precious, chic, arty. critic wrote: ‘Samuel Beckett’s Waiting for That did the trick. Sensing a PR disaster as a generality, with each of its characters, O’Shaughnessy (Vladimir), Sholto James (Lucky), had been brought back into service, although At the Independent I found that the Godot was the most interesting item put on in the offing, the director of the AETT, burdened with symbolism, here becomes an Philip Stainton (Pozzo), Arrow Theatre, Middle its sylvan setting — hints of secret glades and back wall of the stage was covered with a during the year by any theatre.’ Stephen Hall, recanted. In a slightly revamped epic — almost a celebration — and, in the Park, 1957 Arcadian bowers with a pool in the ghost image of a rustic scene, now faded Eleven years after the première, the version, the production went on tour to relationship between the two mutually foreground — could not have been more at and desiccated into a murk of blobs and play had been canonised and my second , Melbourne and with décor independent tramps, even of resourcefulness. Mark McManus’ matching performance a odds with the tinder-dry bush of the Bunyip patches. To the astonishment and suppressed production of Godot, again at the Independent designed and executed jointly by Clifton ‘No clowns are these. To watch Mr complementary figure — not a “beleaguered play. indignation of the staff, with Barry commanding in Sydney, this time with Mark McManus Pugh and John Olsen. O’Shaughnessy’s tattered turkeycock of a simpleton” but a demoralised poet, haunted After his apprenticeship with Phillip and executing most of the operation with playing Estragon, was a great success. Vladimir, swelling with desperate optimism, by dreams, sullen with pain and doubt, a Fool Street, Barry wanted to show the management manic zest, we proceeded to execute an To cope with the demand for tickets, Coda: Here is the review of the latter unsheathing reason with heroic determination whose realism turns as naturally to rage as that there was much richer stuff in him ‘action’ painting on the cyclorama, hurling the season had to be extended twice. I asked production, written by the doyen of Sydney’s to keep despair at bay, taking upon himself, Vladimir’s idealism does to rhetoric. This than it had been ready to invest in. It irked indiscriminately — conscious selection was, The Elizabethan Theatre Trust to sponsor a drama critics, H.G.Kippax, and published in however ineffectually, the responsibility for too is beautiful acting — beautiful, above all, him that the sketch we had written for a at costs, to be avoided — soiled rags and national tour. They refused. The Sydney Morning Herald of 24 February all who touch his heart — to see this is to in the luminous vulnerable joy which suffuses woman who demanded that Utzon’s plans mud packs onto its pathetic surface. In At about the same time, it was announced 1969: ‘Peter O’Shaughnessy’s fine perceive a kind of battered Pangloss taking this Estragon whenever he yields to Vladimir’s for the Sydney Opera House make due front of this collage, we hung a tangled that the Trust would be sponsoring a tour production convinces me that age is the upon himself unwittingly the tones and yearning magnanimity. In these exchanges provision for amenities and facilities for the fisherman’s net as a scrim. When lit, I found of the play by Le Tréteau de Paris. Mark only quality the play lacks to be a classic, postures of Lear as “unaccommodated these scarecrows have their victory. kiddies had been taken out of the revue, that we had created a mysterious hole in and I were furious, and he got in touch with perhaps in drama the classic, of the man” — or, at the least, as he struts and hums ‘And so, similarly, does this interpretation. after one night’s trial; too ‘way out’ they said. space. As evening approached in the action journalist Ron Saw who rose to the occasion catastrophic middle stretch of this century… and essays a genteel conversation, of Mr It has its problems and difficulties. It is slow, The lady was in essence the Amazonian of the play, and the lighting was checked with something along these lines: ‘The at the heart of Mr O’Shaughnessy’s Micawber confronting an unsympathetic demanding much of an audience’s attention, Edna Everage who would bestride the stage back a few points, Beckett’s muck heap was AETT has not the funds to finance a national achievement is this sense of discovery of world. I have never seen Mr O’Shaughnessy with silences prolonged and longueurs with her sublime platitudes and bring the transfigured into a luminously beautiful tour of Peter O’Shaughnessy’s smash hit new facts, and of the mystery, in a structure act better. emphasised, not as a rhythmic function in roof down in the Rock’n Reel Revue which I wilderness. The staff was enchanted. At one production of Waiting for Godot at the which will never, I think, dwindle into ‘Estragon, immortalised by Bert Lahr the cross-talk of vaudeville but as a necessary would present at the New Theatre in point in the French text of the play there is Independent, but has no trouble in finding familiarity…What, in some productions, (and Kenneth Tynan) as “a draughts-player part of the texture of a play about time, inertia, Melbourne just a year later. a hint that the tramps might have found the money to sponsor a production of the notably in ’s in London, in 1957, was lost in a universe of chess” becomes in existence, endurance and persistence.’ n

Page 6 ON STAGE Summer 2008 Page 7 performances, the Comedy or the was then called the North Telecom site who fiddled with ground plans, and told their Oh my! How it’s grown Athenaeum, for example. where the new theatre will be, but not masters ‘the two venues could be combined, Then, of course, came the Victorian Arts Theatre design consultant Denis Irving offers his personal recollections on the evolution of without much negotiation and heartache. and built on the North Telecom site, for $45 Centre, with MTC expected to be the In 1998, the aforementioned trio, with million altogether’. the Union Theatre Repertory Company and Melbourne Theatre Company. resident company in the Playhouse. The acoustics and architectural associates, were On being questioned, MPV advised that uring convalescence from major Melbourne-based branch, in a former dry truly (electrics and dogsbody). original proposal was MTC first choice for commissioned by the university to formalise was based on a common foyer, common lung surgery, I took on a part time cleaner’s shop in South Yarra, complete For details of that season, one should any six months, then public hiring for the theatre design brief. That brief was dressing rooms and backstage facilities, Djob with what was then called ‘the with resident tenants in the rooms above. refer to Geoffrey Hutton’s book It Won’t Last the balance. adopted by the university council, and meaning that the two auditoria could not be Australian Branch’ of Strand Electric and The development of that small beginning a Week. Suffice it to say that Summer of the Astute negotiations by VAC staff incorporated into a larger development brief used simultaneously. Engineering Co. of the UK. into a multi-million dollar enterprise by 1979 Seventeenth Doll was the highlight of a resulted in a contract committing MTC to put out for design and construct tenders, Clearly, that was an absurd and ill-conceived At the time (and until the late ’70s) when The Rank Organisation effectively successful season of fortnightly rep. annual rental based on an optimistic level of with a multi-storey block added, theoretically proposal, demonstrating the ignorance of Strand was the dominant supplier of stage destroyed it, is another story. The Union Theatre at Melbourne box office, irrespective of actual takings. It to provide a subsidy for theatre capital cost bureaucrats, and a situation where the VTT and television studio lighting and controls Back to beginnings: Alec hired a licensed University was only available in early- and also meant that show dates, once set, could and operation. could have offered independent professional in the UK and parts of Europe, but it was electrician, and some ex-JCW cast members, mid-year, being used by various student not be changed. The city planners would not allow advice, as does the Theatres Trust in the UK. totally unknown here, except for some and survived mainly on hire and fit-up work, bodies at other times — but this early start In the early ’90s, Ian Cookesley (MTC sufficient height for that theory to Despite all, Major Projects issued a design secondhand balcony front spots and portable for example , cemented a friendship between UTRC and technical manager), the late lamented Jamie work — so back to square one again! brief for the two venues on one site, now dimmer boards acquired on the cheap by (the 3KZ version in the Alexandra Gardens, the university. This began, incidentally, Lewis (MTC resident lighting designer) and After the completion of Federation Square, recognised as separate operations, but David N. Martin of Tivoli Circuit fame. pre-Sidney Music Bowl), the Herald because by becoming a university department, I began reviewing their future requirements. Victorian Government studies were undertaken maintaining the $45m construction cost. The son of a Strand UK staffer, and Art Show, and city Christmas decorations. the cash-poor company did not have to pay In 1991, one of these schemes, to be in the on a larger arts precinct, which are still Remember though: The University of ex-London Coliseum day-electrician, one Just then, the Union Theatre Repertory sales tax, an added bonus to the university Theosophical Building in Collins Street, was ongoing. However, the main study included Melbourne owned the site, hence it could Alec Brown, had been employed by Company’s third season under Ray Lawler agreeing to underwrite the first season. priced at $8 million. It was a Fairfax Studio not only the MTC Theatre, but also the negotiate for maintaining the original brief, J.C.Williamson Theatres to help ‘modernise’ was about to begin and Alec kindly arranged The famous founding director, John style, with a 90 degree seating area facing a long awaited Recital Centre. although both it and MPV had to acknowledge their lighting. He immediately fell foul of JCW’s for me to become the (only) lighting Sumner, returned to Melbourne after a stint corner stage, albeit with useful off-stage The latter was initially planned as an that vital technical equipment required irascible head lighting man, Reg Jones, who was technician/board operator there, fitting in in Sydney at the Elizabethan Theatre in areas — but it was on the top floor, a distinct 800-seat venue, an appropriate size for additional funding. very jealous of his empire and his holding in other work around that. Newtown, and wanted a venue for the other handicap. chamber music. As the City Recital Hall After periods of protracted brinkmanship, a sheet metal company which made awful Apart from the actors group, the UTRC half of the year. Ensuing years saw various aborted had just been built in Angel Place, Sydney, the real costs we all knew of from years ago were spotlights. Alec was therefore despatched as staff was Ray Lawler, Margot Braybrook By then, the Australian Church in Russell schemes: on the TAC site (virtually opposite with 1200 seats, that became the political finally recognised, so hopefully we can proceed touring electrician for Oklahoma! — and fired and a part time secretary/PR lady; Anne Street had closed, due to the death of its the stage door of Hamer Hall (in what is number, without of course accepting a with construction and fitout for opening in 2009. on his return. Fraser (set and costume designer); Betty founder, Charles Strong. His will stipulated now Southgate Avenue), the Athenaeum budget increase. I am proud to continue my association Realising the potential of the Australian Druitt (wardrobe); Brian Auld and one that any sale or redevelopment of the building (not practical because of noise intrusion into That study recommended each building with MTC, by being the theatre consultant market he, with UK blessing, set up the assistant (carpenter/mechanists) and yours would be required to continue using it as the Victoria Hotel, and the high cost of being on its own site; one was the old YMCA on the new venue, which will stand alongside either a church or a theatre. In reconstruction), the Comedy, and approaches site behind the Ballet Centre, the other was Optus in , Walsh Bay in Sydney and The MTC theatre building in November 2007. life, Mr Strong had been to a number of unsympathetic the North Telecom site. Budgets were well the new venue soon to start construction, closely acquainted with Colin developers — but nobody seemed interested in excess of $40 million each (if all fit-out hopefully to encourage productions shared Badger, the head of the in helping. and equipment were included) which made between states, more so than at present. Council for Adult Education. Next move was the Arts Victoria and Major Projects Victoria The author particularly thanks Ann Tonks, This led, with help from the becoming involved with the Victorian College recoil in horror. MTC General Manager for her co-operation in State Government, to CAE of the Arts, hence eventually owning what Enter two Arts Victoria and MPV staffers, the preparation of this article. buying the building as its headquarters for arts training, A foundation member of the Victoria Theatres Trust, Denis Irving is Keenly interested in heritage theatres, Irving has been involved and leasing it to UTRC for six one of Australia’s most experienced theatre design in the restoration of two of the country’s oldest playhouses, months of consultants. His early collaborations included such the Theatre Royal in Hobart and Her Majesty’s in the year. Shortly after, UTRC prestigious projects as the Festival Theatre . The vintage Empire Theatre in Toowoomba and was renamed Melbourne Theatre Company. (Adelaide), Suncorp Theatre (Brisbane), Seymour Sydney’s magnificent Capitol also received the We at Strand provided the Centre (Sydney) and the Arts Centre in Entertech touch. lighting and control at Melbourne. Now working under the banner Marshall peppercorn rental, and assisted Since 1979, when he formed Entertech Pty Day Entertech, Irving’s recent projects include in re-design and Ltd, his many design projects have included the the Clocktower Performing Arts Centre at installation — this in return for one week’s use each year for Araluen Centre (Alice Springs), South Australia’s Essendon, the Brenton-Langbein Centre at public stage lighting lectures. four regional theatres (Renmark, Port Pirie, Mount Tanunda in South Australia’s wine district, the Eventually the Union Theatre Gambier and Whyalla), the Burswood Casino, and Drum Theatre in Dandenong, the Sydney Theatre, dropped out, and MTC began the entertainment centres at Darwin, Mackay and the new theatre project in Perth, and the new MTC hiring other venues for additional Sydney. Theatre in Southbank Boulevard. n Page 8 ON STAGE Summer 2008 Page 9 1957) where contemporary expressions were from Annie Frisch, Bronte Gallagher, and mostly by John McKellar, Gerry Donovan It didn’t always close on Saturday night done in ‘ye olde worlde’ style, and a riotous the cast, with most of the music by Dallwitz, and Lance Mulcahy, with contributions take on ballet, ‘Christopher Robin’ (John and South African folk composer Paddy from Ron Fraser, John Taylor and Murray In his series looking at intimate revue in Australia, Peter Pinne now turns the spotlight on Adelaide. McKellar/Hit and Run, 1954). From London Roberts. Grand. Ray Cook was musical director and he year 1960 was a momentous Also mentioned were Williams in ‘Dirty Art’s Sake’. ‘Violetta’, an opera skit in came Alan Melville and Charles Zwar’s ‘One of the most hilarious stage shows played one of the twin pianos in the pit, one for intimate revue in Adelaide. Knight,’ Irving in ‘You’re Telling Me’ and costume but without music, was a winner ‘Restoration Piece’ (A la Carte, 1948), and for years,’ cried The Advertiser. ‘Stalwart with Sybil Graham on the other. TThe first biennial Festival of Arts Wheeler in ‘Pastorale’. Millhouse scored with for Talbot, Allwood, Pegge and Wheeler. Richard Addinsell and Arthur Macrea’s performers Margery Irving and Lois Adelaide responded just as heartily to the began in March, and with it came the popular ‘Maud’ (Muriel Lillie –Nicholas Phipps), The funniest number was ‘The Best Schools’ operetta send-up ‘Sweet Belinda’ (Lyric Ramsey were at the top of their form, and company members, who were recognised as ‘fringe’ revue: the Phillip Street Theatre came which first appeared in London’s Penny Plain which had the male performers in drag as Revue, 1951). ‘Theatrical Cleaners’ (Fredericks), among the younger talent, Joan Seidel and being masters of the genre. Colin Kerr in to town with a ‘Best Of…’ compilation in 1951, and was later seconded by Beatrice schoolgirls singing lustily, and the second originally seen in Twisted Faces at Melbourne’s Roslynn Barker stood out… For a Festival The Advertiser thought they brought a show, and Flinders Street Revue Limited set Lillie for her An Evening with Beatrice Lillie funniest was the quartet ‘Kindergarten Arts Theatre earlier in the year, was also “fringe” attraction this will be hard to beat.’ ‘stimulating change’, that it was ‘fast, up shop at Stow Hall. on Broadway in 1952 and later in London Union’. The first act finished with the full given another airing. ‘Autumn Litany’ (Dallwitz–Luck–‘I lost him compact, and alive with a variety of wit’, Like Phillip Street in Sydney in 1953, in 1954. company in a 1920s Charleston burlesque, The Advertiser went overboard: ‘Brimming in the autumn leaves at Aldgate’) was a and that it ‘deservedly’ had a large audience and Living Room in Brisbane in 1966, the The following year Independent Repertory ‘The Good Old Days’, and the second with over with clever material, the company of funny beguine in the hands of Bulley, while at its opening. He unreservedly praised Flinders Street Revue company offered the Inc. billed Let’s Face It (10 June 1959, also at them formally dressed for ‘The Last Waltz’. eight covered a large field, ranging from satire Height scored with the gay cowboy lament, Max Oldaker for his ‘excruciatingly funny first professional employment in Adelaide Willard Hall), as ‘Adelaide’s Most Intimate Independent Repertory followed with and farce to parody and broad comedy.’ It ‘Lavender Cowboy’ (Roberts). lament of old-style musical comedy’ (‘Red for actors, two years before John Edmund Revue’. The show this time had music and Festival Faces (11 March 1960), the first of went on to say: ‘Carmel Millhouse shone in The second act opened with Ade Shadow’/McKellar –Donovan–Mulcahy), established Theatre 62, and 12 years before lyrics by Elizabeth White and Tom Steel; the ‘unofficial’ Festival fringe revues, and “Festival Flower Day” with Desi Moore, Monsbourgh’s jazz standard ‘Don’t Monkey and Lyle O’Hara for her ‘utter originality in the South Australian Theatre Company they also handled the musical direction on again performed at Willard Hall. It starred and as the Queen in , which, with With It’, ‘Femininity’ from the Broadway her charming little “Be Kind To Centaurs” became a statutory body in 1972. twin pianos. Choreography was by Gordon Jon Finlayson, Tony Ward, Carmel Millhouse, Jon Finlayson as the Prince and Tony Ward musical Oh Captain! (Jay Livingston–Ray (McKellar–Donovan –Mulcahy) piece’. He Although Off the Square, which opened Foulds, and direction by John Edmund. Cec White, Margie Foulds, Joanne Allwood, as the King, was a tour de force… A skit of Evans) garnered some laughs for Patsy also noted the general enthusiasm generated at on 4 July 1960, was the official first production sidewalk cafes, “Pie With Sauce”, brought Flannagan, and three Billy Barnes numbers, the opening suggested that ‘Adelaide was under the Flinders Street Revue Limited ready to accept intimate revue as part of its banner, the company had had its genesis theatrical life’. back in December 1958 when Independent It obviously was, as the next month saw Repertory Inc. produced Twisted Faces the inauguration of the city’s first permanent (3 December 1958) at Willard Hall, a small revue company. 300-seat venue in Wakefield Street. According to Mark Taylor in The Advertiser, Written and devised by Rosemary Burden, Off the Square, the inaugural production of the show had music by jazz legend Dave Flinders Street Revue Limited, ‘lacked Dallwitz. It was produced by Jeff Dugan, glamour’, but John Healey’s critique in The moonlighting from ABC Radio. Dugan later Sunday Mail was a rave: ‘S.A. Revue Tops’. became Director of Light Entertainment for Opening 4 July 1960 at the Stow Theatre, ABC Radio in Melbourne. The cast (formerly Stow Hall) in Flinders Street, included Lois Ramsey, Carmel Millhouse, Adelaide’s first professional revue had a Terence [Terry] Stapleton, Margery Irving, stellar cast on stage — Lois Ramsey, Carmel Di Chamberlain, Ray Wheeler, Lionel Millhouse, Joan Seidel, Margaret Foulds, Williams, Lew Jacob, Malcolm Gerblick, From left: Jeff Dugan, Terry Stapleton; ‘Rundle Street Calypso’ from Off the Square with Cliffe Neate and Ian Symonds — and Mary McMahon, Ted [Edwin] Hodgeman, Cliffe Neate, Carmel Millhouse, Joan Seidel and Ian Symonds. experienced back-up in Dave Dallwitz as Douglas Dolphin, Geoff Sinclair, Roslynn musical director, and Alan Babbage as Barker and Rosemary Burden. Lois Ramsey, Ray Wheeler and Douglas Peter Francis and Desi Moore. Direction home its message, and “Stately Homes Of ‘Hello’, ‘El Dorado’ and ‘Whatever Happened choreographer and director. Funny lady Ramsey, with her performing, Dolphin were back from the previous year’s and choreography were by Gordon Foulds, Springfield”, with apologies to Noël Coward, To…’ which came from his 1958 Broadway The writing team wasn’t all that bad writing and directing talents, became a fixture, cast. The newcomers included Joanne Allwood, twin pianos were in the hands of Tom Steel was devastatingly performed by Tony Ward entry, Billy Barnes Revue, also hit the mark. either: Rosemary Burden, Bronte Gallagher, and the face of intimate revue in the City of Anne Edmonds, Jaqueline Talbot, Edmund and Noel Fidge, and music was by Jon and Jon Finlayson.’ On Tuesday 26 June 1960 The Phillip Gordon Foulds, Peter Tatham, and Ramsay Light for the next decade. The Advertiser said Pegge, Ron Lea, Alexander Forbes, Robert Fredericks, Brian Westmore, Bill Cornish One week later the Theatre Arts Players Street Revue arrived in town at the Theatre and Dallwitz. there were numerous ‘clever twists’, that the Leach, Gloria Wilson, Maxine Dollin, Patrick and Steel. opened their Festival offering with We’re at Royal. This was the compilation show that Joan Seidel’s husband, Brian, came on cast members ‘were very talented’ and that Taggert and Foulds. Most of the material was recycled and it Again (16 March 1960) at Stow Hall. had been put together for a two-week Sydney board to do décor. It was the first of three it was ‘the best local material assembled for ‘The show was bright and witty, topical, had been seen in other states, but was new Heading the cast were Lois Ramsey and season at the Phillip Street Theatre from Flinders Street Revues that he worked on; years.’ They liked Ramsey and Jacob in and sophisticated — and a little over-daring to Adelaide. From the Melbourne Arlen Ray Wheeler, with Margery Irving, Joan 24 April 1960, before touring under the he later became a distinguished artist. ‘Spectre Of The Rose,’ a ballet send-up of in spots,’ Harold Tidemann said, writing in revue Don’t Call Us (1958) came ‘A Word Seidel, Wendy Bulley, Roslyn Barker, J.C.Williamson banner to Melbourne, where Taylor enthused about Dallwitz’s Margot Fonteyn and Michael Somes who The Advertiser. He thought Allwood scored From The Children’ (Bruce Wishart), ‘Home Francis Flannagan, Roger Shepard, Pat it played the Comedy Theatre, opening contribution, but his praise of the cast was had just toured with the Borovansky Ballet. with ‘Auditions’, an impersonation piece, Loving Kind’, and ‘In Bowden Tonight’ Woods, Patsy Flannagan, Max Height, 21 May 1960. The cast remained the same limited to Seidel as a ‘slick Sydney barmaid’, Irving, Marker and Stapleton were noticed ‘Mr Arlington’, a subdued ode to lost romance, (Westmore), which was a reworking of a Edwin Duryea, Ronny Williams and Twig. throughout the tour: Max Oldaker, Lyle Symonds’ ‘pleasant singing voice’, Foulds as a subtle society trio in ‘Yearling Sales’, as and ‘Can I Do You Now?’ a perky duet with funny TV tonight-show sketch, ‘In Carlton Francis Flannagan was the director, Patti O’Hara, , Kevan Johnston, Rod ‘when she clicks as in “Frangipani Lil”’ was Edmonds, who ‘shone’ in a Tennessee Ron Lea, while Ramsey was ‘devastatingly Tonight’. Phillip Street entries included ‘Up Bawden the choreographer, and Dave Milgate, Barbara Wyndon, Deidre Green (Dallwitz), and Ramsey’s ‘dry humour’, which Williams take-off in ‘Harpy In The South.’ risqué’ with her Picasso send-up, ‘Art For The Maypole’ (Eric Rasdell/Around the Loop, Dallwitz musical director. Material came and Peter Kenna, and so did the material, he thought was ‘sometimes too suburban’. * Page 10 ON STAGE Summer 2008 Page 11 He also made Tatham and comparisons with Margaret Foulds presents ‘My Bare Lady’ in Stow-It-Away. Ramsey, Trinder Rising stars to stay at the Astor the still-playing and Dallwitz. The future looks good for one of Australia’s last remaining single-screen cinemas. Phillip Street Revue, Opening in a and found the heatwave, which t Michael’s Grammar School has In 1935 the property was sold to Frank Melbourne, with its 12 illuminated stars. locals were ‘very resulted in a half- paid $3.8m for one of Australia’s last O’Collins, who formed Astor Theatres Pty The theatre delighted the entertainment good for amateurs, empty house, the Ssingle screen cinemas, the much Ltd. O’Collins engaged R. Morton Taylor journal Everyone’s: ‘Good design, decoration but not so good for cast, according to loved Astor on the corner of Chapel Street to design his new theatre. As a member of and furnishings have been combined so that the theatre can truthfully be claimed to professionals’. Mark Taylor’s and Dandenong Road, St Kilda. the architectural firm Bohringer and St Michael’s head, Simon Gipson, said Johnson, Taylor had previously worked on be the last word in theatre construction…’. Obviously the Advertiser critique, the nearby school would use the 1100-seat the Burnley Theatre, the Western Theatre, The Astor reflected a new trend in company had to ‘showed signs of art moderne landmark for concerts, speech (West Brunswick) and the mighty State cinema going. The Depression had made raise its standards. the heat and also of nights and as a facility for its expanding Theatre in Flinders Street. These were all trips to the city’s giant picture palaces too Next up was a regrettable (and drama program. ‘There’s a wonderful built to screen silent films and later wired expensive for most of the population, so Stow-It-Away which unexpected) lack of synergy to the deal,’ he told The Age. He for sound. The new Astor, of course, was suburban cinemas became increasingly opened at the same production’. He said screenings of film classics would designed for talkies. popular. Also, there was a trend away from venue on said the first half continue in the evenings. These would still It was also designed in the sleek, newly the traditional opulence to a more 1 November, with ‘lumped along’, but be programmed by George Florence, who popular jazz moderne style; in fact it and its ‘domestic’ ambience — what has been called most of the same the second fared has managed the Astor for the past 25 years. nearby competitor, the now demolished ‘the leitmotif of the 1930s cinema — the company on stage better with the and off. Lois Ramsey, Preliminary Egyptian Ecstasiesset drawings from by ??????????????????????????????? Brian Seidel for We’re At It Again. The Astor was built in 1936 on a site Windsor Theatre, were the first Melbourne large, living room style foyer’. Her material ‘wittier’. Carmel Millhouse, that already had an entertainment history. cinemas in this style. The Astor seated 1700 Majesty’s in Exhibition Street (1934) has it He also thought Margaret Foulds, In 1894 Thomas Alford brought the land patrons. There were three shops on the too. And the Astor featured subdued and Phyl Skinner’s and Cliffe Neate and built livery stables there. Around 1908 Chapel Street frontage. It is believed that indirect lighting, giving it a feeling of addition to the were back for these were replaced by — or converted remnants of the previous building provided tranquillity and homeliness. revue ranks was another run, and into — the Diamond picture theatre. It was part of the shell of the new theatre, which Despite its moderne styling, the Astor ‘welcome’ and they were joined renamed the Rex in 1914 and continued remains remarkably intact to this day. was one of the last cinemas in Melbourne called her ‘Australia’s by Margery Irving, screening (then silent) movies and staging The Astor’s cream and chocolate brick with traditional stalls and circle. After the answer to Rosslyn Barker, occasional vaudeville shows until 1925. facade includes an eight-pointed star in Depression, owners looked for cheaper Cicely Courtneidge’. Artie Verco, Roger After this Alford’s Motor Garage occupied relief, partly obscured by its animated neon construction and maintenance. Cinemas Ramsey trotted out Cardwell and Allan the site. sign, one of the oldest surviving in were smaller, more intimate, with stadium her ‘oldest beatnik Babbage who, once or ‘Continental’ seating in a single, steeply in town’ routine to again, wore the banked tier. As they did not need to support hilarious effect director’s and the cantilevered circle seating, walls could (‘Beat’/Dallwitz), choreographer’s be less structurally robust, and since * Babbage scored hats. David Dallwitz with ‘Of Mice And was on piano; Men’ (a skit on writing credits went male. This was revue at its best.’ to Bronte Gallagher, Peter Tatham, Gordon Dallwitz was praised for his composition, TV’s mouse-eared Jimmy), while visiting Foulds, Ross Luck, Ruth Barratt, Joan Seidel arrangements, and performance. In the three English royalty and dignitaries were and Ramsey, Irving and Dallwitz. months since the launch of Off the Square the skewered by a snooty Moore in a garden Mark Taylor in The Advertiser headlined company had obviously been working hard, party ensemble in ‘Elizabeth Celebrates’ his review ‘Satirical Bite In Second Revue’, and the results were paying off. (Burden). and went on to say: ‘a half-dozen or so sketches Happy Hangovers (26 December 1960), an The show played out its allotted season, hit home so straight and true, and with such apt title for a show that opened the day but after three productions the company had satirical bite of conception, performance, or after Christmas, was a ‘best of’ compilation to face up to the fact that when it came to both, that they all but made up for the sketches of material from Twisted Faces, We’re At It finding a regular revue audience, Adelaide lacking these necessary qualities… Lois Ramsey Again, Off the Square and Stow-It-Away. Lois was a small town. as the oldest beatnik in town (complete with Ramsey again headed the cast, with Cliffe To be continued in the next edition of On Stage. sloppy-joe, henna and feather boa), the Neate, Desi Moore, Prudence Coffey, Phyl Special thanks in the preparation of this “ladies” of the show in a deceptively gentle, Skinner, John Trinder and Alan Babbage article to: Jo Peoples, Performing Arts wonderfully wicked send- up of those who, yet again, was director and Collection of South Australia, Lois Ramsey, stalwarts who make Adelaide’s Flower Day choreographer. David Dallwitz tickled the Rod Delaney, Jon Finlayson, Brian Seidel, what it is, and a dead-pan Lois with ever-so- ivories, while the writing credits went to Grahame Bond, Harold Aspinall, Anne ardent Cliffe Neate in a hilariously punch-lined Rosemary Burden, Bronte Gallagher, Gordon Stapleton, Peter Wylie Johnston and revelation of the unromantic Australian Foulds, Ross Luck, George Anderson, Peter Frank Van Straten. n

Page 12 ON STAGE Summer 2008 Page 13 Sounds like ‘Stage Door’ memories

ith this issue of On Stage of . in issuing the only commercial recording of comes a unique piece of In 1943 Storr enlisted. He served with Army The Kiwis— on the sadly short-lived WAustralian theatre history for Amenities, touring camps in Australia, New Theatreart label. VTT members — an exclusive CD of Guinea and New Britain in an entertainment He lived for many years in rooms at 31 interviews by John Storr from his 1940s unit fondly known as the Yarraroos. Little Collins Street. Following complications 3XY radio program Stage Door. Lieutenant Storr was discharged in April from major stomach surgery, John Storr These interviews have not been heard 1946; he was soon back behind the 3XY died, aged 42, in St Andrews Hospital on 7 since they were first broadcast 60 years ago. microphone. February 1955. He was not married. That they have survived is largely due to Storr loved theatre and the people in it. the efforts of radio historian Jamie Kelly. He may not have been a world-class CD track listing: On Stage thanks him for his generosity in interviewer but, as these recordings attest, Extracts from Stage Door, the radio program making them available to us. Our thanks, presented weekly on 3XY by John Storr too, to Neil Davey, whose technical wizardry 1. , December 1947 cleaned up the primitive recordings, minimising Storr interviews the great Lancashire the clicks and crackles and eliminating most comedian who was appearing in It’s Turned of the surface noise. Out Nice Again at the Tivoli. Formby’s wife, John Storr’s Stage Door program first aired the formidable Beryl, is also present. in July 1947. A half hour packed with interviews, Sharing the bill with Formby were the Six show news and tracks from the latest de Pauls and Johnny O’Connor. ‘microgroove’ albums, it was broadcast weekly from the 3XY studios, which were 2. Anthony Coyne, April 1948 then located in the Princess Theatre in Storr interviews a member of the cast of Spring Street. Most of the program was live, ’s play . but occasionally it was necessary to pre- ’s Sydney Independent Theatre record interviews — and that is how these production was presented by Kenn Brodziak portions of the program survived. They and Garnet H. Carroll at the King’s Theatre seating was on the one level, the cost of and a new, larger screen was built in front The Astor Theatre’s elegant auditorium in the would have been originally recorded on John Storr in 1951 in Russell Street. cleaning, heating and ventilation was reduced. of the original proscenium. 1930s, with the original proscenium. acetate disc or, perhaps, wire; most were 3. Chico Marx, May 1948 On Friday, 3 April 1936, Sir Archie In 1998 the Astor got an even larger Previous page: the exterior today done in the studio, but the The Kiwis’ Revue his knowledge and his enthusiasm make up The wise-cracking piano-playing Chico was Michaelis mla opened the Astor in grand screen; some 18.30m wide by 8.25m high, was recorded on location at the Comedy for any shortcomings in his technique. starring in Variety on Parade at the Tivoli. style. The first program was a traditional it was said to be the largest non-IMAX the National Theatres. Theatre — a true technical tour de force for Remember, too, that these interviews Also on the bill were Edgley and Dawe, double bill: Hands Across the Table with screen then in use in Australia. Its ‘The Astor has the potential to house an its time. encapsulate a unique and very exciting Enzo Toppano and the Bodenwieser Ballet. Carole Lombard and Fred MacMurray installation reduced the theatre’s capacity to exciting mix of educational and entertainment John Penman Storr was born in the tiny period in our entertainment history. The war 4. Evie Hayes, May 1948 supported by Wanderer of the Wasteland with 1170 — 550 in the stalls and 620 in the town of Paris in Ontario, Canada, on 21 June had not long been over. The Princess Theatre options close to our main campus. At the same Evie was just about to wind up the long Dean Jagger. circle. time, our purchase provides us with a wonderful 1912. Both his parents were involved with had returned to live production in 1947, and première season of Annie Get Your Gun at After the Second World War O’Collins In recent years the theatre has been fully radio, though in his later years his father was the big stars were starting to make the long opportunity to responsibly protect an important His Majesty’s. It was the first big post-war gave the Astor an internal refurbishment, air conditioned and Dolby Digital sound a tailor, his mother, Elizabeth Luke, an trek from Britain and the . part of St Kilda’s heritage by restoring key American musical seen in Australia. Webb with the auditorium in a new colour scheme installed. Its projectors can cope with seven entertainer and elocutionist. But the war still echoed in the all-male elements of the Astor to their former glory.’ Tilton co-starred as Frank Butler. and replacing the original light fittings with screening ratios, suiting films from silent Link: www.astor-theatre.com Storr moved to Tasmania with his family soldier revue The Kiwis, and in the setting of plaster candelabra. classics to CinemaScope, and 70mm. It is the when he was very young, and made his radio Sumner Locke Elliott’s controversial play 5. Cicely Courtneidge, May 1948 References: The O’Collins family sold the Astor in only repertory cinema surviving in Melbourne, début over 7ZL, Hobart, when he was still Rusty Bugles, one of Kenn Brodziak’s first Sydney-born Courtneidge was making her 1964. It narrowly escaped demolition and one of the very few independents. Peter A.D. Fogarty: The Screening of St in short pants. presentations. It proved that there was an Australian stage début with co-star Thorley during the widening of Dandenong Road, ‘We are honoured to have become the Kilda — A History of St Kilda’s Cinemas. St At age 18 Storr went to New Zealand audience for Australian plays, paving the Walters in a tour of Under the Counter, a and spent the next few years as a venue for custodians of a building that holds such Kilda Historical Society, 2003 where he took part in the New Zealand way for Summer of the Seventeenth Doll in 1955. black market musical by Arthur Macrea, Greek films and as a bingo hall. It closed architectural and emotional significance for Ian Hanson & George Florence: The Broadcasting Service’s inaugural program. And what passed for the plot of Under the Manning Sherwin and Harold Purcell. It briefly in 1982. St Kilda,’ says St Michael’s Simon Gipson. Astor — A Survivor, CinemaRecord, For a while he ran a children’s hour with Counter was built around the notorious post- opened at His Majesty’s on 15 May. It was George Florence who brought ‘Our school has been a part of the St CATHS, November 1999 Madge Thomas. Later he returned to Hobart, war black market in hard-to-get commodities. 6. The Kiwis, January 1948 the Astor back to life. On 17 September Kilda community for 113 years and remains Philip Goad: Melbourne Architecture. and then he tackled Melbourne. In 1954 Storr left 3XY. He moved to the John Storr takes us through the Comedy 1982 he inaugurated a policy of screening on its original site, just a block down the Watermark Press, 1999 In 1935 he was one of the team recruited ABC, where he took the reins of a similar Theatre’s stage door to eavesdrop on an classic films, double-bill short season road from the Astor. We see enormous Richard Peterson: A Place of Sensuous by Francis W. Thring for his new radio program, The Showman (started by Max Green actual performance of the legendary New repertory (mostly one-night) and staging potential in the building. The school currently Resort — Buildings of St Kilda and Their station, 3XY. As well as general announcing in 1949, and later compèred by the revered Zealand all-male soldier revue; please bear occasional rock concerts. stages major productions at external venues People. duties, Storr undertook acting roles in radio John West). Storr was also involved in in mind that all the voices you hear raised n The concerts were abandoned in 1985 such as the Athenaeum, the Malthouse and St Kilda Historical Society, 2005 drama — everything from Paul Barber in Clemens’ Music Shop, and was instrumental in song are actually male! n One Man’s Family to Henry VIII in Coronets Page 14 ON STAGE Summer 2008 Page 15 Delving into Winging it News from the Performing Arts Collection. Called ‘the regenerator of the British theatre’, playwright Arthur Wing Pinero was just as popular in Australia conic Australian musician, says Elisabeth Kumm in Part 2 of her research into his plays. songwriter and author Nick n 1895, playwright Henry Arthur Jones in White was produced in New York.5 Cave is now the subject of his I published The Renascence of the English Although The New York Times described own exhibition at the Arts Centre. Drama, a collection of essays and Reeve as a ‘master of his profession’ and an This is the third in the Icon series I lectures in which he reflected on drama in actor of ‘consummate skill’, he was evidently of exhibitions which have England after 1885. He chose this date to not famous enough to make the production previously showcased fellow represent the beginning of a new period of an outright success.6 Melburnians and optimism and growth, where native Back in England, while touring through Barry Humphries. dramatists were finding their own voice, the provinces, Reeve met A.W.Pinero at the The exhibition delves behind and no longer relying on French and Theatre Royal, . In a letter to his the music and into Cave’s German texts for their source material. aunt (18 June 1874), Pinero recorded: ‘We imagination and the sources of his He also referenced the changing open on Monday night with The Woman in unique vision through original expectations of audiences, who would no White Count Fosco, Mr Wybert Reeve, who lyrics, notebooks, artwork, longer tolerate the ‘feeble witticisms and puns’ is the “star” for a week.’7 photography and books, as well accepted by earlier generations of Details of any subsequent encounters are as objects from the musician’s own playgoers.1 unknown, but from this initial meeting they library and office. Visitors are As covered previously, Pinero began may have struck up a friendship. Whatever taken on a surprisingly insightful his career as a full time writer in 1882, and the case, in later years Reeve became a and playful journey through the is considered to be at the vanguard of this champion of Pinero’s plays in Australia. performer’s connections with John Hare as the unscrupulous Baron new breed of playwrights who were altering Reeve was also a playwright of some Melbourne, London, Berlin, Sao Croodle in The Money Spinner. Handwritten dictionary by Nick Cave, contained in notebook, 1984, vinyl, metal, paper and pen; the dramatic landscape in England. note, but clearly not in the same league as Paulo and Brighton, England. theatres in Swansea and Ryde. At the 18.0 by 12.0 by 2.0cm, gift of Nick Cave, 2006. As his reputation grew in England, it was Pinero. Allardyce Nicoll lists 16 plays It also explores the many Theatre Royal, Ryde, he was presented 8 Picture courtesy the Arts Centre, Performing Arts Collection not long before his plays were being presented written by Reeve between 1859 and 1877. phases of his career working with in Australia. The first manager to stage a with a testimonial by his professional Several of these were also produced in The Boys Next Door, The Birthday Party, of Nick that is rarely seen.’ 2008. It will showcase the work of eight Pinero play in Australia was Wybert Reeve. colleagues. Between 1867 and 1878, he London — Won At Last! (1869), Not So Bad the Bad Seeds and Grinderman. ‘This has been a revealing and rewarding contemporary visual artists alongside managed theatres in Sheffield, South Shields After All (1870), Pike O’Callaghan (1870) and In 2003 Janine Barrand, Manager of Wybert Reeve experience,’ Nick Cave has said about the costumes, stage designs, puppets and and Scarborough. Never Reckon Your Chickens (1871). Although Collections & Research and curator of the Wybert Reeve (c.1829–1906) developed a exhibition. ‘Much of this stuff has sat around memorabilia drawn from the Arts Centre’s In October 1869, Reeve made his first many of these plays were published, they exhibition, visited Nick Cave at his home in love of the theatre at an early age and in boxes for years and the process of Performing Arts Collection. Many of the artists appearance in London, when he played John are not known today. Brighton to discuss the possibility of donating despite his family’s best efforts to persuade “excavating” it has been many things — moving, involved have worked directly with material Mildmay in a revival of ’s comedy Reeve arrived in Australia in October 1878, his personal archive to the Performing Arts him to follow a career in the army, he disturbing, inspiring and downright terrifying.’ in the Performing Arts Collection in Still Waters Run Deep at the Lyceum Theatre. under engagement to Coppin, Hennings and Collection. The result was Cave’s generous ‘threw up regimental life’ to join the Nick Cave — The Exhibition will be at the developing new work for the exhibition. He scored considerable success as Walter Greville, bringing with him a considerable donation of over 800 items from which the ‘profession’.2 He commenced his acting 9 Arts Centre until 4 April 2008 and admission Following Silver-Lined will be Seamless: Hartright in a dramatisation of ’ reputation as an actor-manager and playwright. current exhibition is drawn. career at Bradford in Yorkshire in 1849, is free. An interesting program of public When Costume Meets Dance, 19 July–5 The Woman in White, which was staged for He made his first appearance at the Theatre Janine says, ‘I think he is very pleased making his stage début playing Frederick, a events has been scheduled in conjunction October 2008. This exhibition, drawn from the first time at the in Royal, Melbourne on 19 October 1878, his that his collection is here in ‘walking gentleman’, in The Wonder. He initial offering being , in with the exhibition. the Arts Centre’s Performing Arts London on 9 October 1871. When the season The Woman in White Melbourne — and of course, he enjoys next joined the York Circuit, playing juvenile which he played Count Fosco, supported by The brochure enclosed in this issue of Collection, will examine the art of designing closed on 24 February 1872, he went on tour seeing us wearing white gloves to handle it roles. In 1852, his first play, a farce titled An Solange Navaro in the duel role of Anne On Stage gives details. costume for dance. with the piece, playing the more central role of all! It has been great that Nick has been so was produced at Australian Hoax Count Fosco. His performance impressed Catherick and Laura Fairlie. No Name and Cool It will feature costumes from pivotal 3 involved and interested in the exhibition, Forthcoming exhibitions Plymouth. In 1855, as a member of Mr As A Cucumber followed on 26 October moments in Australian dance history and the author, Wilkie Collins. personally selecting the lyrics that are The next exhibition at the Arts Centre will Roxby’s company, he produced his second 1878.10 the stories behind the ultimate effect they In a letter to Reeve, Wilkie Collins declared: featured. be Silver-Lined: Contemporary Artists and the farce, A Supper Gratis. My Dear Reeve, First let me heartily He next presented a season at the Sydney created in motion. n ‘I believe this exhibition will show a side Performing Arts Collection, 12 April – 13 July In 1857, Reeve joined the Theatre Royal congratulate you on the great increase of Theatre Royal when Temptation (i.e. No Name), in Manchester, where he specialised in light reputation which your performance of All For Her, Still Waters Run Deep, No So Bad My friend Rupert, the Hamer Hall cat, tells Rupe overheard an MSO honcho trying and eccentric comedy. On 20 June 1859, Fosco has so worthily won. I and my After All (a comedy by Reeve), George Geith Gus me that the MSO is no longer making a to explain that ‘this will help maintain that his comedietta A Match for a Mother-in-Law play are both deeply indebted to your (Reeve’s adaptation of Mrs J.H.Riddell’s goss grand entrance at the start of each concert, sense of corporate self-confidence which was produced for the first time, and he was artistic sympathy, and your admirable novel), and other plays were produced. all tuned up and ready to launch into the leads to a consistently high level of also part-author of the pantomime Blue Beard. business management — to say nothing of During the following years Reeve first item on the program. performance’, but one of the musos told He remained at the Royal for five years. the great increase of sale in the book in performed regularly in Melbourne, Sydney 4 Instead they’ve reverted to the old him that it simply makes it easier to keep From Manchester, Reeve went to , each town you play, &c. and New Zealand. He was also a frequent practice of wandering on and warming up on their instruments in tune. where he entered into the management of The following year, Collins invited visitor to Adelaide and, while there, in May stage while the audience settles in, Rupe says. - Gus, the theatre cat n the Cardiff Theatre, after which he managed Reeve to accompany him on a reading tour 1880, he leased Garner’s Theatre for its first of the USA, during which time The Woman season and in 1889 managed the Theatre * Page 16 ON STAGE Summer 2008 Page 17 Royal for Williamson, Garner and Musgrove. Derinda Croodle: Marie Wilton was given its first representation in Footnotes adaptation of No Name was first performed York Times From 1891, he became sole lessee of the Melbourne at the Opera House where it Millicent Croodle: Annie Major 1. The Renascence of the English Drama, p. 126. at the Theatre Royal, Newcastle-on-Tyne on Notes and Queries (Oxford) Theatre Royal, and continued his association (Specially Engaged) played for 11 consecutive performances. 2. Wybert Reeve, ‘In the days when I was 26 October 1877. The Sydney Morning Herald with the theatre until his retirement in 1900, On this occasion the role of Millicent was Madame Montconis: Blanche Grey young’, Critic, 16 September 1899, p. 12. 11. Free BMD records that Reeve died on the William Archer, English Dramatists of To-day, when he returned to England. He died on Margot: Julia Featherstone taken by Blanche Stammers, with Hans Isle of Wight in the December quarter of Sampson Low, Marston, Searle, & Rivington, 11 3. Dictionary of the Australian Theatre 1788-1914 (p. the Isle of Wight in 1906 at the age of 77. Phillips as Lord Kengussie. The review in The central characters of the play are 240) suggests that Reeve was in Australia 1906, aged 77, vol. 2b, p. 387. London, 1882 The Argus (27 March 1882) describing The Money Spinner Baron Croodle, who runs a gaming saloon during the early 1850s and that his play An 12. John Hare, Comedian, pp. 90–91. Jean-Louis- Gerald Bordman, American Theatre: A Chronicle of Reeve’s performance is worth quoting: ‘Mr Ernest Meissonier (1815-1891) was a French Comedy and Drama, 1869–1914, Oxford The Money Spinner was produced for the first in Paris, and his daughter Millicent, whose Australian Hoax was produced in Pyrmont, Reeve was thoroughly at home in the part, Classicist painter, famous for his scrupulous University Press, New York, 1994 time at the Prince’s Theatre, Manchester, unfailing luck has earned her the title of the Sydney in 1852. Reeve’s autobiographical and brought out the humorous traits of the depictions of military themes. Reginald Clarence, on 5 November 1880, with Mr E.J.George ‘Money Spinner’. Two young men are in account of his early life published in Critic The Stage Cyclopaedia: A character with admirable skill. No point was 13. J.P.Wearing, Pinero: The Money Spinner, Notes (Baron Croodle), Miss Emily Levettez love with Millicent, Lord Kengussie, a demonstrates that this was not the case. Bibliography of Plays, Burt Franklin, lost, and every gesture, while evidently the and Queries, June 1974, p. 218, suggests that (Millicent Croodle) and Mr T. Bolton (Lord Scottish peer, and Harold Boycott, a clerk Reeve’s assertions are supported by The New York, 1909 result of careful study, appeared to spring the first act, omitted from the original Kengussie). The play ‘created a sensation’ in a cotton factory. The Baron favours her Dramatic List (p. 284) and Lorgnette (5 John Dawick, Pinero: A Theatrical Life, University spontaneously with the words which called productions, was written after the first and soon found an opening in London at marrying Kengussie so that he may live October 1889, p. 5) which record that this of Colorado Press, Niwot, Colorado, 1993 forth. The impersonation will certainly rank London performances. Archer in English the St James’s Theatre on 8 January 1881, comfortably and elude the clutches of the play was produced in Plymouth, England, in Eric Irvin, Dictionary of the Australian Theatre amongst Mr Reeve’s best character studies, dramatists of to-day, states that ‘it was under the management of Hare and Kendal. police, but Millicent prefers the clerk, and 1852. There does not appear to be any 1788–1914, Hale & Iremonger, Sydney, 1985 and would alone be sufficient to make the originally a three act play’ which suggests In London, the character of Baron marries him at the end of the first act. extant copies of the play and it is not listed in Henry Arthur Jones, The Renascence of the English whole performance popular.’ that the first act was dropped rather than Croodle was played by comedian John The second act is set two years later, Clarence. Drama: Essays, Lectures, and Fragments, Reeve presented the piece on further added later. Hare: ‘His make-up and disguise as the and Millicent and Harold are living in Rouen. 4. From Life, p. 108. Macmillan and Co, occasions over the following years. It was 14. English Dramatists of To-day, p. 271. drink-sodden and card-swindling old In order to save his father from pecuniary 5. The Woman in White opened at the Broadway London, 1895 produced in Sydney for the first time at the 15. American Theatre: A Chronicle of Comedy and reprobate, with his shabby clothes showing embarrassment, Harold has embezzled Theatre on 15 December 1873. Allardyce Nicoll, A History of Late Nineteenth Theatre Royal on 24 June 1882, and in Drama, 1869–1914, p. 172. clearly the evidence of more affluent days, money belonging to his employees, and now 6. The New York Times, 16 December 1873, p. 5. Century Drama 1850–1900, Vol. 11: hand-list Adelaide on 15 November 1882. 16. American Theatre: A Chronicle of Comedy and and his still swaggering and half-patronising finds that he is unable to repay it. Meanwhile 7. The collected letters of Sir Arthur Pinero, p. of plays, Cambridge University In 1884, Reeve revived it at the Sydney Drama, 1869–1914, (p. 172) notes that ‘a manner, were alike remarkable…Mr Hare the Baron and Dorinda (Millicent’s sister) 33. Press, 1946 Gaiety for seven performances, commencing new act was added for America.’ He also has before now been called the Meissonier appear on the scene, with Kengussie in 8. A History of Late Nineteenth Century Drama Charles E Pascoe, The Dramatic List, David pursuit. Millicent conceives the plan to play on 24 May, when he was supported by says that the play achieved a ‘squeak- of the stage. He never had greater claim to 1850-1900, p. 540. Bogue, London, 1880 the peer at cards and win enough money to Maggie Knight as Millicent. It was subsequently through run of a month’ on account of the title than when he conceived, drew, and 9. Public Record Office Victoria —Unassisted T. Edgar Pemberton, John Hare, Comedian, pay her husband’s employees. performed for one night only at the Theatre having been ‘carelessly rewritten.’ carefully “stippled in” the portrait of Mr Immigration to Victoria, Index of Inward George Routledge and Sons, 12 In the final act, the card game between Royal in Adelaide on 19 November 1885, 17. For a complete listing of all plays held by Pinero’s Baron Croodle.’ Passenger Lists for British, Foreign and New London, 1895 Millicent and Kengussie takes place, and and for three performances at the same the B & Bs refer The Sydney Morning Herald, On its first productions, The Money Spinner Zealand Ports 1852-1923, shows Wybert J.P.Wearing (editor), The Collected Letters of Sir theatre from 27 June 1887. This seems to be 24 April 1893, p. 2. was presented as a two act drama, though it Millicent loses, but by cheating she finally Arthur Pinero, University of Minnesota Press, Reeve’s final production of this play. Reeve arriving per Chimborzo, in October seems that it may have originally been written manages to win the game. An incognito Bibliography Minneapolis, 1974 It appears that some time after 1887 1878. See also The Argus, 1 October 1878, p. 5 as a three act play.13 In writing about it detective who is observing the game tells Wybert Reeve, From Life, George Robertson, Reeve may have lost copyright control of and 18 October 1878, p. 5. The Argus (Melbourne) The Bendigo Advertiser William Archer suggested that the three act Kengussie what has happened. On hearing Adelaide, 1891 n the play. Certainly by 1893, the Brough– 10. As noted by Clarence (p. 320), Reeve’s Critic (Adelaide) Lorgnette (Melbourne) The New version was superior to the two act version. Millicent’s explanation, Kengussie declares Boucicault Comedy Company held the It seems that without the original first act, he is Harold’s banker and that everything colonial rights to all of Pinero’s plays.17 much of the back story and character is in order. In return for this, he receives Casting call for the During June 1891, Janet Achurch and development was lost.14 Dorinda’s hand in marriage, and everything ll through its near 80-year previously committed, alternative CBD Charles Charrington (in association with On 24 September 1881, at the Theatre ends happily. history the Comedy has played premises had to be found — and the the Brough–Boucicault Comedy Company) Royal, Brisbane, Reeve produced The Money It is something of a mystery as to how host to almost every kind of Comedy came nobly to the rescue. revived the play when they produced it in A Spinner; the first of Pinero’s plays to be staged the three act version of the play came to be entertainment — drama, ballet, opera, On Stage understands the Town Hall’s Sydney for three performances only. in the Australian colonies. Interestingly, performed in Australia (and the USA). Was musicals, pantomime, radio shows, films, loss was Marriner Theatres’ gain — to the The last recorded production of The Reeve presented the three act version of the it deleted from the original production due even boxing matches, but last November it Money Spinner in Australia was in 1894, comedy, the same as that produced in New to external interference? Was it specially notched up another first. when the Spong Company performed it (by York at Wallack’s Theatre in January written for production outside of For two weeks the familiar foyer served 16 arrangement with Messrs Brough and 1882.15 England? How did Reeve arrange for it as a temporary polling booth for the 2007 Boucicault) for three nights only at the The cast for the first Australian to be sent to Australia? Had he maintained federal election. Criterion Theatre in Sydney commencing production was: contact with Pinero since their first meeting Bemused voters made their way through on 1 August 1894. Hilda Spong played the Baron Croodle: Wybert Reeve in 1874? the gleaming glass doors — still emblazoned role of Millicent, supported by Mr Irve Lord Kengussie: Frank Cates During December 1881, Reeve played a with the JCW logo — to find a jumble of Hayman as Baron Croodle and Mr C. Pierre Greynon: Frank Forbes brief season in Sandhurst (Bendigo), and on trestle tables, a line of cardboard voting booths Westmacott as Lord Kengussie. Harold Boycott: Mr A.W. Boothman Boxing Night produced The Money Spinner, and an army of scurrying Electoral Mockett: Mr W. Medus when he was supported by Flora Anstead as Continued in the next edition of On Stage. Commission staff. Sobobski: Mr Marsh Millicent and Mr A.J.Byrne as Lord Kengussie. Normally the Commission sets up shop A Porter: Mr Norgrove On 25 March 1882, The Money Spinner in the Town Hall, but as this space had been

Page 18 ON STAGE Summer 2008 Page 19 The Madwoman remembered Eastern Arcade not gone west—yet Charles Murray remembers when Chaillot’s most famous resident first came to Melbourne. The VTT sub-committee on the preservation of the front portion of the former Eastern Arcade reports on here have been only four Wendy Sicree and Tanya Iyvans as the two steps back, one step forward… productions of Jean Giraudoux’ other Madwomen. The music for the TThe Madwoman of Chaillot in mazurkas was composed by Bryan Edward Melbourne that I know about. First, it was and Pat[tie] Hanna. Richard Frank, Anton produced by Irene Mitchell at the Little Bowler and John D’Arcy Jnr are other Theatre in South Yarra in 1952. Second, it interesting names in the cast. was done as a Commencement play in 1956 The décor and costumes were designed by the Melbourne University Dramatic Club, and executed by Dickason, assisted directed by George Fairfax. Third was a by Alan Money. They added tremendously Company 9 production by Ronald Quinn at to the atmosphere of the play were seen to the University of Melbourne in 1965, with great effect when seen from the front. Carrillo Gantner in the cast. And, lastly and The Madwoman opened at the Little on most recently, Simon Phillips’ production for 7 March 1952 with a special performance to the MTC last November, with Magda raise funds for the rebuilding of the University Szubanski playing the lead. of Melbourne’s Wilson Hall, which had Younger On Stage readers might not been burnt to the ground in January. recall the old Little Theatre — it closed in I think this was the very first production 1955 with a production of The Petrified Forest. of the play in Australia. While the new theatre was being built, It was also my first association with the Little’s productions were presented in the Little Theatre. As ‘The Doorman’, I was Loveday Hills, the Madwoman in Irene Mitchell’s Arrow Theatre in Middle Park. In 1956 the supposed to make my entrance on a bike 1952 production of The Madwoman of Chaillot. new Little Theatre opened with Irene with an assortment of scarves for the Mitchell’s production of Tiger at the Gates. A Madwoman, but alas, due to the smallness eritage Victoria recommended of a 19th century hotel interior, and that issued a permit for a new development, few years later, the Little was rechristened Jurge Mikelaites added atmosphere by of the stage, the bike had to go — but I can on 17 August 2007 that the the whole of the front section of the building which did not include retention of any of St Martin’s. providing music during the interval. still recall the few lines I had to say! Hformer Eastern Arcade building (about 16 metres deep) should be retained the existing building. The much loved old Little had originally I agree with Jan Gordon-Clarke (née With such a large cast and with so at 131–135 Bourke Street not be listed as a by the developers. This would avoid the However, when a hearing is requested, been St Chad’s Chapel of Ease. What was the Richards) who was in the MUDC production many walk-on parts, there was some building of state significance. problem of retaining the façade only. an Interim Preservation Order (IPO) is in stage had once been the apse of the chapel; in 1956 and has written her recollections of doubling up, Cultural historian Mimi Colligan, (who The sub-committee members presented force until the Heritage Council arrives at this made the wings very narrow and cramped. the production, from which she has allowed To relieve the congestion in the men’s on 7 May 2007 had nominated the building submissions to the City of Melbourne at a a decision. The audience entrance to the me to quote: ‘The play demands a magnificent dressing room, I seemed to spend much of for registration), Elisabeth Kumm, theatre council planning meeting on 2 October, The second submission of 6 December auditorium was at the rear. It would have director, able to walk the fine line between my time in the wings, and it was there that historian, and Peter Johnson, architect — all requesting that a Heritage Overlay be 2007 continued the argument, concentrating held about 100 people and, for those sitting comedy, irony, and drama, while bringing I became interested in the stage management members of the VTT sub-committee — recorded prepared immediately to protect the site. on refuting the contention of Lovell Chen Ltd, in the front row, it was like being part of the out the underlying philosophical aims of side of theatre. This led me to become Irene their objection to the decision, and requested Despite receiving strong recommendations representing the developers, that the building action on stage. the play.’ Mitchell’s stage manager for many years a hearing before the Heritage Council. to do so from their own officers, the council was not of state significance. This setup meant that what should have Certainly Irene Mitchell was able to do into the future. Enlisting the aid of Asian architecture declined to take any action. The VTT sub- The hearing before the Heritage been the prompt side was in fact the o.p. just that, and it appeared that George Jan Gordon-Clarke’s recollections have expert Hugh O’Neill of the University of committee also met with the developer, Council took place on 14 December 2007. side, and when actors had to make an Fairfax, in what might have been his first evoked for me memories of some of the Melbourne, the sub-committee wrote two Devine Ltd, on three separate occasions, to Peter Johnson and Hugh O’Neill spoke to entrance from that side they had to run production of a play, was also able to bring people in both productions with whom I had submissions arguing that the front building discuss ways that the front building could their submissions requesting the registration around the outside of the theatre. It was all out the best in his student cast. Many of the pleasure of working later on. was a rare and intact example of Neo-Mughal be integrated into their project. of the building as of state significance. right when the weather was good but when them went on to the professional theatre, She has also allowed me to relive this or Indo-Saracenic style, that the second floor Meanwhile, on 2 November 2007, the As On Stage went to press no decision it was wet umbrellas were needed! while others had distinguished careers in remarkable play: in this day and age we still largely dated from 1894 as an example Minister for Planning, Justin Madden, had yet been made. n Such a small acting space and The other fields. tend to forget that it was written in the dark Madwoman’s cast of some 26 meant that stage Some notable names in George days of the German occupation of France It seems that Magda Szubanski might have entrances, exits and groupings of actors, had Fairfax’s cast were David Niven, Alan and, although it was not produced there Gus taken the role of a madwoman somewhat Contacting to be managed well. Irene Mitchell was Hopgood and Robin Cuming; Jill Rozelaar until 1945, still has relevance for the French too literally. One night, I’m told, she superb in handling such a large cast. She played the Madwoman. as it has for us today. goss wandered into the wings during Act Two, Postal address was ably assisted by the stage manager, Irene Mitchell was always able to find leaving her stupefied fellow actors to try to PO Box 382, Malvern, Lorna Kirkwood Jones, with great help the right person for roles in her productions. Special thanks to Margaret Marshall at the get the audience to join in a ‘Frère Jacques’ Victoria 3144, Australia from the two ASMs — Joyce Watson and In the The Madwoman the leading role was Performing Arts Collection for giving me singalong. And a few nights before, she’d e-mail Jurgis Mikelaites. Their work would have superbly played by Loveday Hills. She was copies of the cast lists of both Irene Mitchell’s interrupted the show to announce the result been greatly appreciated by all the cast. skillfully supported by Pat[tie] Hanna, and George Fairfax’s productions. n of the Federal Election. [email protected] - Gus, the theatre cat

Page 20 ON STAGE Summer 2008 Page 21 Yet another National Theatre arts Melbourne stage-by-stage festival — this time to commemorate the Screen and occasionally live entertainment continued until 1947 at the Princess until, as Ralph Marsden visit of the recently crowned Queen reports in Part Seven of his history of the theatre, Garnet H. Carroll found a new source of stage productions. Elizabeth II, and the Duke of Edinburgh — occupied early 1954, with the he long live theatre drought was McMaster, began an 11-week season on Bergner in the drama The Two Mrs Carrolls. royal visitors attending a performance of broken when Garnet H. Carroll 4 February, but it was less well received It ran for a month, then Franquin returned the opera on 1 March. (now the driving force of the than Olivier’s had been, although it until 22 November 1950. T After this came a variety show, A Night of Carroll–Fuller partnership) imported the included Australians Sheila Helpmann and The first half of 1951 was occupied by a Pink Champagne, with a magician, The first of a series of productions from Sydney’s Frank Thring (as a ‘spear-carrier’). National National Theatre arts festival which was Amazing Mr Rooklyn, George Wallace and Minerva Theatre: an American comedy Theatre Movement seasons of opera, ballet part of the Centenary of Victoria and the Jenny Howard from 29 April. Another called Life With Father on 19 April 1947. and drama (including The Glass Commonwealth Jubilee celebrations. Franquin season followed on 5 July then, Next up was an English comedy, Terence Slipper — the first Princess pantomime since Highlights included the première of the after a season of operetta revivals from 10 Rattigan’s O Mistress Mine, then Australian ballet Corroboree, with music by October, came French singing star Jean J.B.Priestley’s Dangerous Corner, with a John Antill; the return of expatriate soprano Sablon in the revue, La Vie Parisienne, from youthful in the company. The Marjorie Lawrence in ; and an acclaimed 20 November to 29 January 1955. This was followed on 17 October by Aboriginal revue, Out of the Dark, directed Princess This was the year that Garnet H. Carroll Britain’s Ballet Rambert company for a by Irene Mitchell. really made his entrepreneurial mark: his 14-week season ending on 24 January On 28 June 1951 came another Aztec– Theatre attractions included Melvyn Douglas, one 1948 — the longest continuous run by a Carroll attraction, the English farce, See of the most polished of American actors, in ballet company in Melbourne up to that …Astley’s Amphitheatre How They Run, which transferred from the the comedy Time Out for Ginger, from time. Doris Fitton and her Independent The Royal Amphitheatre King’s after its first few weeks and 16 February; distinguished British thespians Theatre company from Sydney came two The Princess’s Theatre and continued here until 7 November. Far less Ralph Richardson, Sybil Thorndike, Meriel nights later in The Little Foxes but the year’s Opera House happy was the season starring tempestuous Forbes and Lewis Casson in a double bill of most famous visitors were Laurence Olivier The Princess’s Theatre Americans Diana Barrymore and Robert Terence Rattigan’s The Sleeping Prince and and Vivien Leigh, heading an Old Vic The Princess’s Opera House Wilcox: after a relatively stable six weeks in Separate Tables; Peter Gray, partnered (initially) company under the auspices of the British The Royal Princess’s Theatre Moss Hart’s Light Up the Sky, the alcoholic by American actress Marsha Hunt, in The Council. Not since the days of Sarah The Academy of Music couple walked out after a single Little Hut; but the most successful of all was Bernhardt had the Princess housed such The Royal Princess’s performance of Coward’s Fallen Angels on the musical Kismet, which starred American lustrous and prestigious theatre personages Opera House 29 December, leaving local cast members to expatriate Hayes Gordon, and boasted a at the height of their fame. The New Princess’s Theatre take over their roles. 330-performance run to 4 August 1956. The Oliviers’ season began on The People’s Theatre Another National Theatre arts festival The Katherine Dunham Dancers, 20 April 1948 with The School for Scandal, The New Princess Theatre occupied the Princess from mid-February to transferring from the Tivoli on 8 August, followed by Richard III and Thornton mid-June 1952; prominent in the drama became the first fresh attraction of 1956, Wilder’s The Skin of Our Teeth with a 163 Spring Street, Melbourne company were Zoe Caldwell and Ray followed by English actress Dulcie Gray in company including such rising talents as Lawler — whose play Cradle of Thunder was the controversial drama Tea and Sympathy. Peter Cushing and Terence Morgan. also premièred. After this came British After a brief revival of Kismet, Agatha Christie’s Although the plays were a brilliant musical star Jessie Matthews in the comedy Witness for the Prosecution arrived on 2 January success with the public and the stars were Larger Than Life. 1957 with British actors Philip Stainton and fêted like royalty, press reaction was The year ended with English actor Percy Marmont. Robert Morley’s Hippo sometimes more subdued and Olivier himself Edwin Styles in a farce, The White Sheep of Dancing, also with Stainton, followed this, recalled in his autobiography: ‘Melbourne the Family. then came more of Franquin, Noel gave us our first cool reception.’ A National Theatre Coronation Arts Madison in another popular drama, The Doris Fitton’s company returned after Festival ran eight weeks from 31 January Diary of Anne Frank and, on 2 October, an the Old Vic season to present Eugene O’Neill’s 1941 filled the rest of I949. On New Year’s 1953, the highlight being Gian Carlo Australian Elizabethan Theatre Trust marathon, Mourning Becomes Electra, from Eve came English comic actor Clifford Menotti’s modern opera The Consul, with the (AETT) season of opera and ballet. 16 June. Then came Rattigan’s The Winslow Mollison in a successful farce, Is Your young Australian soprano Marie Collier. Another of Carroll’s most fondly Boy and Noël Coward’s Present Laughter, Honeymoon Really Necessary?, which ran until On 4 April 1953 came Ice Parade, a remembered shows was the English musical co-produced by Carroll–Fuller and Kenn 1 April 1950; it was followed by The Girl Who skating show produced by Harry Wren, Salad Days, which premièred on 13 November Brodziak’s Aztec Services. Present Laughter Couldn’t Quite until 8 May. which enjoyed a run of over four months. 1957, ran until 27 January 1958, and was starring Englishman Peter Gray was first The hypnotist Franquin, one of the Another Wren success arrived on 3 revived mid-year. In the last few weeks of presented on 3 September, then enjoyed a most popular attractions of the 1950s, October — Thanks for the Memory — a its first run, Salad Days played in the second season running up to 3 February 1949. opened his first Princess season on 17 May. nostalgic vaudeville revue starring veterans evenings, with a locally-written version of A second British company, this time This was interrupted on 6 September to George Wallace, Jim Gerald and Queenie Peter Pan providing holiday matinée fare. from the Shakespeare Memorial Theatre, accommodate Sir Ben Fuller’s last Princess Paul. This was followed by a third Wren Fron top: Salad Days (1957): John Proper as Timothy and Judy Banks as Jane. West Side Story Bruce George provided the score, with Stratford-upon-Avon, and headed by Anew presentation: German star Elisabeth presentation, Cinderella on Ice, from Boxing (1960): Rehearsing ‘Officer Krupke’ in the Princess Theatre’s Dress Circle foyer. * Day. Page 22 ON STAGE Summer 2008 Page 23 book and lyrics by June Lansell and John The AETT, who were to take over as Carroll (son of Garnet); John also directed. lessees of the Princess, presented Peter played Peter, with Clement O’Shaughnessy’s production of Beckett’s McCallin as Hook. Marie Cumisky played Waiting for Godot for three weeks from Tiger Lily and provided the choreography. 18 April 1969 and a National Theatre ‘three Also of note in 1958 was much loved arts’ festival was held for a month from British character actress Margaret Rutherford; 11 June. More lowbrow fare was supplied she starred in John Dighton’s farce The by England’s Hugh Lloyd and Australia’s Happiest Days of Your Life and Jean Anouilh’s Ron Fraser in the farce Not Now Darling romantic comedy Time Remembered. Other from 8 August. Late October saw the return attractions included the American musical of , with Robert Bells Are Ringing, with British star Shani Helpmann as guest artist. Wallis; former Hollywood star Richard Arlen Non-AETT attractions of 1970 included in The Anniversary Waltz; and a follow up to British TV’s Patrick MacNee in a comedy, Salad Days, Free as Air. The Secretary Bird; the Georgian State Dance The Broadway comedy Auntie Mame Company from Russia; and a production of enjoyed a good run from 19 February 1959; All’s Well That Ends Well for the Melbourne it was followed by another, The Tunnel of Theatre Company by the distinguished Love, with local talents Michael Pate and British stage director, Tyrone Guthrie. . Danny Kaye starred in his Another Guthrie production, with Sydney’s own show for some five weeks from 20 July Old Tote Company, King Oedipus, came in and Harry Wren brought more nostalgia on February 1971, another Russian company, Left page: High Spirits (1966): Dossie 1 September with Many Happy Returns. This the Novosibirsk Ballet, late in May, and Hollingsworth as Elvira, Betty Kean as starred Gladys Moncrieff (her farewell show), British actor, Barrie Ingham, in a one man Madame Arcati and Stuart Wagstaff as Charles Jim Gerald, Jenny Howard, Queenie Paul and show, followed in mid-July, while 14 October Condomine George Wallace Junior. brought the première of a new Ray Lawler Above: Wildcat (1963): Toni Lamond as The year ended with another American play for the MTC: The Man Who Shot the Wildcat Jackson with her dresser, Ray Wilson. musical, Once Upon a Mattress, starring the Albatross, with Leo McKern. Left: Robert and Elizabeth (1966): Frank Thring versatile Australian, Gloria Dawn. McKern returned in a transfer of an as Edward Moulton-Barrett. The new year, 1960, brought two shows MTC production of Patate late in January by Peter Scriven’s marionettes The Tintookies, 1972 — a year that also saw a fortnight’s American TV’s Hugh O’Brien in The Wyatt 21 May 1966. Starring , Dennis season by the Prospect Theatre Company Earp Western Revue, Meredith Willson’s Quilley and Frank Thring, this ran almost of Great Britain from 2 May. The casts of American musical The Music Man, peerless six months to 12 November and proved a King Lear and Love’s Labour’s Lost included British character actor Basil Rathbone in an fitting memorial to Carroll’s career. Timothy Dalton, Prunella Scales and Timothy uncharacteristicly comic vehicle, The Marriage- Another Carroll–AETT offering, a season, on 23 August, Garnet H. Carroll Early 1967 brought Robert Morley in West. American entertainer Carol Channing Go-Round, and one of the most stunning of Sadler’s Wells company from England (which died suddenly at the age of 61. The Sound of Morley, for 11 nights from 7 March. followed this with her Gentlemen Prefer all American musicals, West Side Story. included Suzanne Steele) in Offenbach’s Although the theatre continued to be On 23 May came Hollywood star Ray Blondes show, while the respective highlights Reckoned the best of a number of Orpheus in the Underworld, followed this; then run by Carroll’s widow and son, and although Milland in a thriller, Hostile Witness. The of the ballet and opera seasons were Rudolf production collaborations between Carroll came another Rodgers and Hammerstein several Carroll-initiated attractions continued Australian National Theatre reportedly leased Nureyev’s production of Don Quixote and and the Tivoli Circuit, West Side Story ran from hit, The King and I, which opened on to arrive over the next few years, one of the 30 January 1965. More successful was the the Princess for three years from June 1967 , starring Suzanne Steele. 29 October until 4 February 1961. 22 December 1962 and ran until 6 July 1963. richest, liveliest periods in the Princess’ Union Rep’s production of Who’s Afraid of and their initial season, beginning on 3 July, A noted attraction of 1973 — a year more West Indian pianist Winifred Atwell in Wildcat with Toni Lamond, the musical that history had, sadly, effectively ended. Virginia Woolf? for a month from 8 February, included productions of The School for Scandal, notable for a paucity of offerings — was the Strike a New Note, the musicals Lock Up Your followed, was a flop. AETT seasons of opera and ballet, as but High Spirits, which followed, was and The Merchant of Venice. A musical MTC’s production of Bertolt Brecht’s Mother Daughters and The Most Happy Fella, and a AETT seasons of opera and ballet ran well as its collaborations with the Carroll another musical flop. The Broadway version of Alice in Wonderland ended the Courage, with Gloria Dawn, from 21 June. Neil Simon comedy, Come Blow Your Horn, into 1964, until the arrival of another management on more commercial fare, comedy Any Wednesday did rather better; year; it featured prima ballerina Kathleen An Age article of 13 June noted that the all preceded the 20 October 1961 opening successful Neil Simon comedy, Barefoot in the continued as before, but the Carroll family’s then, for a memorable fortnight from 7 Gorham and rising star . AETT’s lease of the Princess had been of . Park, on 8 February. In tandem with this, at role as entrepreneurs gradually waned, and October, came Marlene Dietrich, purveying Marlene Dietrich returned for seven extended to 31 December 1978, also that This Rodgers and Hammerstein intermediate sessions for three weeks from the theatre was increasingly sub-let to other her seemingly ageless glamour. nights late in March 1968 and, in between seating had been reduced to 1550 by musical, with Australian soprano June 11 May, was Irish actor, Michael producers. On 23 October came the George Gershwin’s great Negro opera seasons of opera and ballet, came a one enlarging the pit for music theatre — but Bronhill and British actor Peter Graves, was Macliammoir as Oscar Wilde in The Melbourne première of Robert Helpmann’s Porgy and Bess saw out 1965, a year which man show by British comedian Alfred apart from a 16-day stint by Des O’Connor produced in association with the AETT and Importance of Being Oscar. Australian ballet, The Display. already showed signs of the patchiness that Marks. Alan Ayckbourn’s comedy Relatively in October, the theatre was dark for the became Carroll’s most successful ever A third Rodgers and Hammerstein Finian’s Rainbow, a 1947 Broadway was soon to afflict the Princess. The last Speaking with husband-and-wife team second half of the year. attraction, running nearly a year to 22 musical, Carousel, began a run of more than musical starring British veteran Bobby show Carroll had bought before his death, and John McCallum, There was slightly more activity in 1974; September 1962. four months on 5 June 1964, but during this Howes, lasted just six weeks up to the musical, Robert and Elizabeth, opened on enjoyed a 10-week run from 20 July. this was once again mostly confined to *

Page 24 ON STAGE Summer 2008 Page 25 subsidised theatre and included visits by the second starring success, Wonder Woman, Apart from annual seasons by the cousin to . Best On’, and Ray Charles’ blues classic, Stratford National Theatre of Canada and which had an extended run of 11 weeks Australian Opera and the tracks: ‘Wig In A Box’ and the poignant ‘Early In The Morning’. There are no the American National Theatre of the Deaf. from 16 August. More G&S followed this, that had become fixtures by now, 1980 also ‘Wicked Little Town’. show songs per se, but the interpretation is Virtually the only ‘popular’ attraction was with and June Bronhill starring offered Stackton Tressel Favourites, with the The 9/11 musical very theatrical. Best Track: Don Walker’s a stage spin-off of the British TV comedy in HMS Pinafore and then Cox and Box, from hilarious but under-appreciated Hinge and evocative ‘Subway’, with its eerie solo Everything’s F**ked (Autopilot CDEF series Doctor in the House. Minor renovations 25 November to 17 December. Brackett from 28 July, the Melbourne début trumpet line. 00911) is a new sung-through musical included the installation of liquor bars at Sydney entrepreneur Eric Dare, who had of the acclaimed Sydney Dance Company by Sean Peter, which opened in At the cutting edge stalls and dress circle levels. brought the Livermore seasons to Melbourne, from 20 August, and a few concerts by Adelaide at the Festival Centre in 2007 The Royal Shakespeare Company, also sponsored the London Theatre Group Hollywood actress-dancer Juliet Prowse, Another hot cabaret act is Tim as part of their Inspace Series. It headed by Michael Redgrave and Glenda in a fortnight’s run of Steven Berkoff’s East late in September. Minchin — So Live (Madman featured Abbie Cardwell, Andre MMA2657), the current best-selling Jackson, were distinguished visitors late in from 5 June 1978, with the author himself in Peter Pan, 1957: Eikmeier, Alexander Jenkins and Lisa DVD at Middle Eight Music. Filmed in February 1975; also from England, early in the cast. Equally novel was Quentin Crisp, Clement McCallin Sontag, with musical direction by the May 2007 at the Sydney Opera House July, came Roy Dotrice as 17th century ‘world famous philosopher, raconteur, humorist, as Captain Hook author. The album, commissioned by Studio, the DVD features the best biographer John Aubrey in Brief Lives. Other eccentric, and notorious author of The Naked and Mary Hardy the Festival, is a handsomely produced material from his shows Dark Side and So British visitors that year were the gentlemen Civil Servant’, for a fortnight from 31 July. as Peter. 2CD set of the complete show, which actors Wilfred Hyde White and Robert Coote The year 1979 brought short runs of Crown Rock, plus bonus extras from his was called by the critics an Australian in a William Douglas-Home comedy The Jockey Matrimonial, a drama about Edward VIII, appearances in London and on ABC– Rent, and there are similarities — one Club Stakes, for three weeks from 29 October. with as Queen Mary, the D’Oyly TV. Minchin is clever, witty, and like all character even has a a contagious Outrageous Reg Livermore was a major Carte Company from England in good satirists, irreverent. His riffs on the disease. The story, set in 2001 at the attraction of 1976 in the first of his solo and HMS Pinafore, the all-male burlesque environment, the Middle East, God, time of the 9/11 attacks in New York, starring shows, The Betty Blokk Buster Follies, dance troupe Les Ballets Trockadero de Monte death and paradise, are cutting edge shows the effects that disaster had on which did good business for nearly three Carlo, another British TV sitcom spin-off, clever. ‘Inflatable You’ nails solo sex in a four ordinary people sharing a house in months from 6 May. Tarantara Tarantara, a George and Mildred and, for just two funny way, as does ‘Rock’n’Roll Nerd’, an Australian city. They sing about their musical based on the lives and works of performances on 15 September, the 83-year- with its take on the music business. He despair at the state of the world, and , ran just over a month old American silent screen star, Lillian Gish, plays a mean piano, and his lyrics incisively their personal situations, which involve from 25 May 1977, and the first Princess in her nostalgia show. Longest run of the year skewer his subjects. It’s no wonder he’s retrenchment, death and attempted season by the Victoria State Opera began was scored by Danny La Rue, whose variety not only been acclaimed locally but in suicide. This is not a musical for those n the UK and Canada, too. on 2 July. Reg Livermore returned in his revue played seven weeks from 11 October. Continued in the next issue of On Stage and friend in Priscilla — Queen of the Desert who like happy endings — it’s bleak, At last, the 1933 show dark, with little joy, but it is well 886971734522) delivers in spades. It makes written and well performed. Best tracks: Finally, something nostalgic: a DVD has Show music thumbnails his first Swing Sessions album look like a ‘Autopilot’, ‘Told Us’ and ‘September 10th’. been released of Scenes from Collits’ Inn demo. With a terrific big-band sound, the At the turntable with Peter Pinne and the best in show albums. There is also a video clip on the net of the (PAL and NTSC formats), the concert ghosts of Frank Sinatra and Bobby Darin, song ‘On The Bus’. performance of the 1933 operetta, which and ‘Always On My Mind’, the latter a nice romp through parody versions of mainly Drag out the disco drag still hover over everything but, this time took place in Melbourne in late March 2007. moment with his son. ’70s pop. ‘I Heard It Through The The original cast recording of Priscilla — Hobson’s choices around, Campbell seems be having more The show, which originally starred Gladys Sheldon brings his comedic skill to the Grapevine’, ‘Physical’, ‘YMCA’ and ‘My Queen of the Desert — The Musical , the award winning opera fun. There are lots of show tunes: the Moncrieff and Robert Chisholm, was never forefront on ‘Macarthur Park’, and Guy’ are just some of the songs to get The (Universal 1749084) has been released to star, has a new solo CD, The Promise Gershwins’ ‘I’ve Got A Crush On You’, commercially recorded, so this selection of Genevieve Lemon (Shirley) does likewise on Change treatment. Two original songs, coincide with the Melbourne opening of the (Universal/ABC 5304197), which showcases Porter’s ‘Begin The Beguine’ and Arlen’s nine songs from Varney Monk’s score ‘I Love The Nightlife’. Martine Monroe ‘Night Sweats’ and ‘A Different Time’, by show. Although (for copyright reasons) the him singing show songs and classic pop. It’s ‘That Old Black Magic’. Harry Warren’s becomes the most complete version of the changes pace for a big-band swing arrangement Gary Young (director) and Paul Keelan musical lacks the iconic Abba songs that not a bad album, but then it’s not too ‘There Will Never Be Another You’ gets a score on disc. Jane O’Toole, Matthew of ‘A Fine Romance’, which is reprised (musical director), have been added to the made the movie so memorable — and the brilliant either. He hits all the right notes, workout, as does Hoagy Carmichael’s ‘Lazy Davine, Ian Cousins and Sue Braatvedt quietly by Michael Caton (Bob). Australian version of the show. ‘A Different songs that replace them don’t pack the same but it’s such a bland performance. It’s like River’. Best track: undoubtedly Arlen’s delightfully handle the singing chores, The orchestrations by Stephen ‘Spud’ Time’ is particularly good and slots in well punch — the album is, nevertheless, enjoyable. somebody came along and edited all the ‘One For My Baby’ — with great solo piano accompanied by the Victorian Concert Murphy and Charlie Hull capture the era as the finale. Of course we’re back in the disco era, emotion out of every track. It’s odd, because by Chong Lim, the album’s producer, it Orchestra, with narration by Charles ‘Bud’ well, even if the synthesised sound is a bit and that’s what the recording is: wall-to-wall Way ahead he spent his formative years singing in equals Sinatra’s classic take on the song. Tingwell. thin. A four-track promotional CD, taken musicals and fronting a rock band, so he disco. The Divas (Sophie Cart, Amelia Pop singer iOTA made the role of Hedwig in from the cast recording, was produced for A touch of Capsis All of the above CD/DVDs can be should be able to deliver the passion needed Cormack, Christina O’Neill) carry the bulk Hedwig and the Angry Inch (Showtune the Melbourne launch. Paul Capsis’ new cabaret act Everybody purchased from Middle Eight Music, 145 of the vocals on the album and are especially for this material. Still, his legion of fans will Records) memorably his own, winning a Wants To Touch Me (Black Yak BYOA36) Osborne Street, South Yarra, Victoria, 3141, solid on ‘Shake Your Groove Thing’, ‘Girls Hot flush probably lap it up. Best tracks: ‘’Till There Helpmann Award, and the original cast has been committed to disc. His forte of (03) 9866 1222, except Hedwig and the Angry Just Want To Have Fun’ and ‘I Will Survive’. Was You’ (The Music Man), and ‘Everybody’s A local cast recording of recording of the show confirms why. It’s a reinterpreting classic pop songs works well. Inch and Paul Capsis which are available (Bernadette), Jeremy Stanford Menopause — The Musical, the hit show Got To Learn Sometime’. great charismatic performance. The show Mahalia Jackson’s ‘I’m On My Way’, from [email protected]. Collits’ (Tick/Mitzi) and Daniel Scott (Adam/Felicia), that celebrates women and The Change, has (about an East German transsexual who Campbell’s group Prince’s ‘How Come You Don’t Call Me Inn is available from Jonathanharvey@ as the drag queens, work well on ‘Go West’ finally made it to disc. Recorded live at Star submits to the knife) is one of those rare In contrast, David Campbell — The Anymore?’, and Cher’s ‘Bang Bang’ are all optusnet.com.au. Menopause — The Musical and ‘Both Sides Now’, and Stanford gets two City, Sydney, Caroline Gilmer, Vivien things, an authentic rock musical. With its Swing Sessions 2 (Sony/BMG given his distinctive treatment, as well as can be bought at the theatre where the tender solo spots with ‘I Say A Little Prayer’ Davies, Susan-ann Walker and Donna Lee bizarre plotline, it often feels like a second The Supremes’ ‘You Keep Me Hanging show is playing. n Page 26 ON STAGE Summer 2008 Page 27 Concert Hall with as the The merger of the Australian Opera upside-down on the masthead — a visual Death of a long-lived ‘minnow’ Widow and Ron Stevens as Danilo — at and the Victoria State Opera into Opera allusion, Gyger explained, to his publication’s Australia’s authoritative opera newspaper Opera-Opera is no more. seat prices ranging from $6, right up to a Australia caused a major identity problem dedication to opera ‘down under’. He was giddying $25. for Opera Australasia. also at pains to record that the all-powerful ditor and publisher of Opera-Opera, magazine-style publication, eight Initially the paper was distributed free The combined company’s new name was to have been called David E. Gyger, has reluctantly editions of which Australian Opera had to Australian Opera Friends and subscribers, was chosen without any discussion with Australian National Opera — until someone decided to end the published between 1974 and 1976. E and to just about anyone else who might be Gyger, who wrote, in a bitter editorial in his pointed out that the acronym ANO spelt a monthly’s 30 year run. His lead story in January 1978 rude word in Italian, ‘one He explains that highlighted Australian Opera’s plans of the major operatic while the paper for an extensive country tour of a languages’. maintained a highly fully-staged Don Pasquale—New So now, after 30 years committed core readership, South Wales only, needless-to-say. nobly and meticulously it has not been large There was a piece by Sydney chronicling our evolving enough to attract sufficient Opera House general manager opera history, Gyger has advertising to offset Frank Barnes on the $270 000 brought his publication to relentlessly escalating project to increase the size of the an official end with issue publication costs. Opera Theatre’s orchestra pit, so 360. Gyger and his wife Alison, it could accommodate 80 rather But in true theatre Opera-Opera’s associate editor than 63 musicians. style he couldn’t resist an (and author of three volumes ABC broadcaster Bob Moore encore — a special chronicling local opera), are in wrote the history of the ‘swansong’ edition their mid-70s and feel it is time Adelaide theatre that had ‘as a farewell gift to to retire. ‘Our attempts to flush started life as the Tivoli, had our subscribers’. out a younger production/ spent some years as Her On behalf of all managerial consortium failed,’ Majesty’s, and had recently Victoria Theatres Trust says Gyger, ‘and we were forced to started a new life as the members, acknowledge that the use-by date of Opera Theatre, home to the On Stage says ‘Bravo’ to Opera-Opera had well and truly arrived.’ State Opera of South David and Alison and First published in January 1978 Australia. (These days, it’s likewise to their and then known as Opera Australia, known again as Her supporting team. the cover price was a whopping 20 Majesty’s.) We thank them for cents. It was established at the Frank Harris Alison and David Gyger with at a charity reception organised by the Australian Opera Auditions three decades of suggestion of the (then) Australian contributed a very Committee, 28 January 1983. Image Identity Studios, courtesy David Gyger. remarkable service. We Opera’s (then) general manager, Peter complimentary review Opposite page: the start of a 30-year journey: Opera Australia Volume 1, Number 1, January 1978. will miss them and we Hemmings, who had found a similar of John Cargher’s newly wish them well. n publication had proved invaluable published Opera and Ballet in Australia interested. By the end of 1978 the press run January 1997 edition: ‘The national during his previous Scottish Opera post. (somewhat ironic in view of the magazine’s On Stage also notes the Melbourne had risen to 27 500 and costs had escalated performing company has effectively At his urging, Sydney socialite, Daily Telegraph and established and edited occasionally prickly relationship with Symphony Orchestra’s decision to scrap alarmingly — so much so that in March compromised the integrity of our name benefactor and columnist, Nola Dekyvere’s the Wagga Wagga-based Riverina Express. Cargher). There were reviews of an its free glossy magazine Encore. ‘I have 1979 Australian Opera management and without consultation. Corporations, being NSW Friends of the Australian Opera From 1964 to 1975 he was a sub-editor at excellent Victoria State Opera Pelléas and always been a believer in communicating the Friends group were forced to cease registered federally, can apparently with agreed to revamp their monthly newsletter The Australian in Canberra and Sydney, and Mélisande, a disappointing Adelaide Don with our supporters,’ says managing subsidising the paper. From then on Opera impunity co-opt business names registered into a 12-page newspaper-style publication, was its Sydney music critic from 1971 to 1975. Giovanni, a moving Amahl and the Night director Trevor Green. ‘On a purely Australia became totally subscription-based. on a state level — though in this specific using funds previously set aside to sponsor In an editorial in that first edition, Visitors in Canberra, and a clumsily pragmatic level it could be said we are Three months later it was being jointly case, both Opera Australasia the newspaper an opera production. Gyger noted how far opera had come in programmed ABC telecast of the Adelaide ceasing publication because our costs published by Playbill (Australia) Pty Ltd, the and Opera Australia the performing Hemmings realised that the success of the preceding two decades. ‘[In 1958] the Festival production of Wozzeck, which Gyger are constantly increasing and we must specialist Sydney theatre program publishers, company trade across state borders. Since the new publication would depend on its parent of the present national company, neatly described as a ‘buried landmark’. always look for ways to save money. But and David Gyger’s own company, Pellinor unequivocal commitment to the cause of editor. Fortunately he met David Gyger, a the Elizabethan Trust Opera Company, was Nola Dekyvere contributed a column on it is also our duty to determine the most Pty Ltd. Playbill withdrew in September 1981. opera in general, in this part of the world, is free-lance journalist. only two years old; the years of struggle to behalf of the Friends, and Melbourne news effective way to bring the MSO message The magazine’s 16th birthday was our raison d’être, we are certainly not about ‘I thought I was interviewing him for establish it on a full-time, fully professional was provided by Jill Sinclair. Jill continued to the community of music lovers.’ celebrated with a new name and a new to lock horns with the performing company the monthly magazine Theatre Australia,’ basis had only just begun. Today, the artistic to contribute to the magazine almost until Green indicated that the move offspring. From January 1994 the masthead over its change of name; in any event, we says Gyger. ‘What I did not know when we struggle still goes on… but the Australian her death (see On Stage, Autumn 2004). would enable more funds to be changed to Opera Australasia, reflecting its are all too aware that any such confrontation spoke was that Peter Hemmings was in fact Opera has achieved a measure of international The ‘Opera of the Month’, a valuable available for developing the MSO’s expanded coverage and aligning it to Pellinor’s would be a classic case of the minnow versus interviewing me even as I interviewed him.’ stature and all the states have at least sporadic feature that would continue through every ‘presence in the on-line world’. new puppy, Theatre Australasia. Sadly, the whale.’ Born in the US state of Maine, Gyger activity in the realm of serious theatre.’ one of the magazine’s subsequent 360 The MSO will continue to provide however, Theatre Australasia did not have its So Opera Australasia reluctantly became had been living in Australia for 20 years. Gyger also noted the existence of an editions, was The Merry Widow, which was programs free-of-charge at its concerts. n parents’ stamina; it survived for only 20 issues. Opera-Opera, with the second ‘Opera’ printed He worked as a journalist at the Sydney earlier Opera Australia magazine, a glossy being presented in the Sydney Opera House

Page 28 ON STAGE Summer 2008 Page 29 Bless ’em all Lola Montez 1907 was a seminal year for popular songwriters, Peter Burgis reports. To celebrate the 50th anniversary of its first production, Peter Pinne devotes the fourth in his series on ast year marked the centenary of the Like most composers of his time, Fred ’Em All’. Fred had written this number in important Australian musicals to a girl with guts: Lola Montez. start of two highly successful occasionally used composer pseudonyms, 1917 but had to wait until 1940 (and for hen Lola Montez opened on produced, directed, wrote and performed in songwriting careers. One is Russian- such as Edward E. Elton, Eddie Stamper, another war) for it to become a success L 19 February 1958, a breath of the revue Heaven’s Above — The Sky’s The Limit born Irving Berlin (1888–1990) who had Dan Grahame and Godfrey Williams. His throughout the English-speaking world. fresh air blew across the (14 March 1956), which was mostly recycled about 640 songs published between 1907 and ‘Bless ’Em All’ became one of the most W songs were sung by the biggest names in Australian musical theatre landscape. Here, material that he’d written for The University of 1962; the second is Welshman Fred Godfrey England, including Mark Sheridan, Ella famous and often-sung songs of the war and at last, was a show the critics thought could Sydney Revue of 1954. Benjamin also studied (1880–1953) whose name appears on almost Shields, Ella Retford, G.H.Elliott, Tommy is undoubtedly Fred Godfrey’s biggest hit. hold its own against the American and Arts at the , where he 800 songs written between 1907 and 1945. Handley, George Baker, Stanley Kirkby, George Formby was Britain’s most British imports of the day. The composer, majored in mathematics. During his time Fred Godfrey was born Llewellyn Leslie Sarony, and Gracie Fields. popular film star and during the war used a lyricist and writer were young and there his clever facility with words found him Williams and has strong Aussie ties through Fred became a household name with number of fresh Fred Godfrey songs to unknown, but the quality of their work also contributing to the annual student revues. his partnership with Melbourne songwriting hits like ‘Who Were You With Last Night?’ jolly-up his films. promised a bright future for all three. The Burke, who graduated from the comedian Billy Williams (1878–1915) who (1912) and ‘When Father Papered The The world’s leading Godfreyologist is show and its score have since been University of Melbourne, began his career recorded many of their tunes, including Parlour’ (1910). Australians to record his Canadian scholar Barry A. Norris who recognised as the landmark that they were, working with Brett Randall at the Little ‘She Does Like A Bit Of Scotch’ and ‘Blame songs included Peter Dawson, Billy informed me recently that Fred Godfrey is and 50 years later Lola is still kicking up Theatre in South Yarra. In 1952, he was It On Poor Old Father’. Williams, Florrie Forde and Albert Whelan. most likely the author of the 1908 her heels on Australian stages. appointed administrator of Canberra Possibly encouraged by Billy, young The 1930s were a relatively quiet time chartbuster ‘Ship Ahoy! (All the Nice Girls Peter Stannard (b. 1931) composer, Repertory. He followed that with a three- Fred also wrote ‘Coo-ee! Coo-ee!’ (1916) for Fred Godfrey, apart from musical material Love A Sailor)’. Barry conducts a Fred Peter Benjamin (b. 1930) lyricist, and Alan year London stint, working with BBC and ‘The Kangaroo Hop’ (1912) which was he provided to comedian Max Miller, Godfrey web page on the Internet which is Burke (1923–2007) book writer, met in 1951 television courtesy of a UNESCO reprised in the 1975 Gene Wilder film The notorious as the ‘Cheeky Chappie’. During well worth a look: [email protected]. at the Intervarsity Drama Festival, Sydney. fellowship. On his return to Australia in Adventures of Sherlock Holmes’ Smarter Brother. the Second World War Fred developed a In case you are wondering: Irving They all shared an interest in musicals, and 1956 he spent two years working with the Many of Godfrey’s early songs were widely close relationship with Lancashire comedian Berlin died one of the richest men in the talk revolved around them writing one Australian Elizabethan Theatre Trust, distributed in Australia in the form of both George Formby (Jnr) who, in 1940, introduced USA. On the other hand, Fred Godfrey’s together. The subject of Lola Montez and before joining ABC-TV. sheet music and records. his enormously popular services song ‘Bless estate was valued at £202. n her four-day visit to the Ballarat goldfields Correspondence about a Lola musical in 1856 was a story the trio thought had continued between the trio throughout potential. 1953 and 1954. Eventually they gathered Madame Melba, or merely Miss Mitchell? The colourful Lola was working-class under one roof and between Boxing Day elbourne antiquarian dealer Temperance Hall, the People’s Theatre and Carlton Hall in Reilly Street, Carlton. Irish who improved her station by 1956 and New Year’s Day 1957, they John Dean is asking VTT the Athenaeum. Among the suburban venues Can anyone throw some light on the marrying an army officer. When he was completed the first draft of the book, music Mmembers for help. are Mendes’ Academy of Music in Emerald mysterious Miss Mitchell? Then please posted to India, she walked out on and lyrics. He’s hoping someone can throw some Hill, the St Kilda Assembly Hall, and the contact John Dean on (03) 9817 4570. n him, later dancing her provocative The Australian Elizabethan Theatre light on a mysterious Miss Mitchell, who ‘spider dance’ for the crowned Trust agreed to fund a tryout production of sang two items in a ‘Grand Full-Dress heads of Europe. For a time she the work by the Union Theatre Repertory Amateur Entertainment’ at the Athenaeum was mistress to Ludwig I of Company (now MTC), at the Union in Collins Street on 7 September 1877. Bavaria (and others), but Theatre at the University of Melbourne. Was she a nascent Dame Nellie, or was eventually she fled to America. John Sumner was to have directed the she some other Miss Mitchell? Gold-rich Australia soon show, but during rehearsals he fell ill, so The event, a fundraiser for the Depot for beckoned. She gave took over. It wasn’t the last time Distressed Gentlewomen, was under the performances in Sydney and he would direct Lola. The show was cast patronage of the State Governor Sir George Melbourne and, of course, from the then current group of repertory Bowen and Lady Bowen, and Captain Ballarat — where she infamously players, many of whom later went to local Murray and officers of HMS Sapphire. publicly horsewhipped Henry and international fame: Frank Gatliff, Hugh Her two solos were the Scottish ballad Seekamp, the editor of The McDermott, Patricia Conolly, Neil ‘Auld Robin Gray’ (presented with ‘descriptive Ballarat Times, for daring to give Fitzpatrick, Robin Ramsay, Monica tableaux’) and ‘O Mio Fernando’ from her a bad review. Maughan, Alan Hopgood, and George Donizetti’s La Favorita. She also took part in Stannard began writing music in his Ogilvy. Justine Rettick, an operetta the Quartet from Verdi’s . teens, sending his efforts to such radio comedienne, was recruited to play Lola. The scrapbook was compiled by Howard programs as Search for a Song. Later, while Glen Balmford, also cast from outside Dare, a Melburnian closely associated with studying Arts at the University of Sydney, English musical comedy star Mary Preston the ranks, played the young love interest, the St Kilda Amateur Dramatic Club. It he produced, scripted and appeared in as Lola Montez in the 1958 Australian Jane Oliver. covers the years 1870–1880 and includes student revue. During a stint working for an Elizabethan Theatre Trust production. The musical’s story centred around programs from Melbourne city venues such advertising agency in Brisbane in 1956 he Lola’s four-day visit to the Ballarat goldfields as Hudson’s Theatre, the Theatre Royal, the where the miners, in appreciation of her * Page 30 ON STAGE Summer 2008 Page 31 performance, threw gold nuggets to her on Lola was English dancer Mary Preston, home-hewn nugget’, and went on to praise had been cut. The press was again positive. Brisbane cast, in between the Brisbane and At the time of the show’s major production the stage, and her subsequent infamous whose previous London credits included George Carden’s choreography, ‘some of L.B. in The Sydney Morning Herald (24 October Sydney seasons. It was the first stereo in 1958, Chappell and Co. published a ‘Piano editor horsewhipping episode. A sub-plot playing a ‘starlet’ in Grab Me a Gondola. the most supple and inventive dancing seen 1958), thought ‘there was still plenty of recording ever produced in Australia. Two Selection’ of the score with lyrics, which was a sweet little love story that had an Frank Wilson, who had spent some time in here’, as well as the sets: ‘Hermia Boyd’s Gold In Ballarat’, that the Trust had ‘dug songs, ‘There’s Gold In Them There Hills’ included the songs ‘Southerly Buster’, ‘A Lady Irishman travelling halfway around the London appearing in Call Me Madam warmly coloured scenery waltzed round in up a rich nugget of it’, and that it had ‘zest, and ‘Ballad Of A Tree’, were dropped from Finds Love’, ‘The Wages Of Sin’, ‘I Alone’, world to find the girl who nursed him in (1952), Paint Your Wagon (1953), and had a spectacular fashion.’ The score also found pace and colour’. Stannard’s score was the score for the LP release. There is no ‘I’m The Man’, ‘He’s Mine’ and ‘Saturday the Crimean War. As for the score, the stint as Nathan Detroit in favour: ‘Peter Stannard has thought up called ‘crisp and racy’, and Benjamin’s doubt it is this historic recording that has Girl’. The latter two were also published as opening song, ‘Southerly Buster’, was a (1954), was cast as Lola’s American some excellent tunes in the current lyrics ‘danced with verbal fun’. But they kept the show alive for the past 50 years. single sheets. hearty and memorable men’s chorus, and manager, Sam, with Jane Martin and Broadway style. “Be My Saturday Girl”, “I did complain the show was not particularly The following January, on Australia Apart from the EMI cast recording, ‘Let Me Sing! Let Me Dance’ was an Michael Cole as the young lovers, Jane and Alone” and “I’m The Man” should find Australian and could easily have been Day, the ABC broadcast a condensed radio which was produced in stereo and mono, appropriate and effective big number for Daniel. Others in the cast included John their way about without any trouble. Peter called ‘“Annie Get My Fair Damned Okladoon version of the show with the Elizabethan there was also a medley released on LP the lead. ‘Partner, Name Your Poison’ and Auld, Bernard Shine, Doreen Oakshott, Benjamin’s lyrics alternated wit and Game”, for it was never less than a skilful Theatre Trust cast. Three years later ABC- from the Sound of Music TV ‘Maria, Dolores, Eliza, Rosanna’, were Ron Pinnell and Alan Hopgood, who was sentiment judiciously, and probably came synthesis of oft-proven New York tricks.’ TV produced it for television. Both versions series. This was sung by Rosalind Keene, clever duets for Lola and her manager Sam the only cast member retained from the over best in “The Wages Of Sin,” one of They thought it ‘needed a bigger and more were directed by Alan Burke. The television Bill Newman and Darryl Stewart with Bob Vanderburg, and there were two ballads tryout season in Melbourne. the hit scenes of the show.’ Covell’s forceful personality than soubrettish little cast featured New Zealand actress Brigid Gibson’s orchestra. It featured the songs that stood out, ‘I Alone’ and the pretty Direction and choreography were in criticism of the cast was reserved for Mary Mary Preston’ in the title role, that Eric Lenihan as Lola, pop-singer Johnny Rohan ‘Southerly Buster’, ‘I’m The Man’, ‘Saturday waltz that had hit potential, ‘Saturday Girl’. the hands of expatriate Australian George Preston, who ‘made us sit up and take Thornton ‘sang well’, but ‘the finest singing as Daniel, Patsy Hemingway as Jane, Campbell Girl’ and ‘I Can See A Town’. Stewart The Bulletin (26 February 1958) said: Carden, who returned from London for the notice’ [and Frank Wilson] ‘who clinched came from the rugged men’s choruses, Copelin as Seekamp, and two original Trust Harvey released ‘I’m The Man’ as a single ‘Lola Montez was a definite success, and assignment. His London credits included every scene in which he appeared — a truly most of all in the unaccompanied little folk cast members, Frank Wilson as Sam and in 1958, and several artists through the looks likely to continue for some time.’ It dance direction of the Arthur Askey–Julie masterful performance.’ ballad of the second act [‘Ballad Of A Tree’]’. Alan Hopgood as Smith. Lenihan was ‘superb’ years have recorded ‘Saturday praised Justine Rettick, ‘the most Wilson musical Bet Your Life, which had a But a good notice in the most important Alan Burke’s book was said to rely too according to The Televiewer in The Age Girl’ — Johnny O’Connor, Tony Bonner, accomplished singer and an energetic score by another expatriate Australian, paper in town was not enough. Brisbane often for laughs on ‘copious bloodys and (3 May 1962), and they also liked Frank Philip Gould, David Campbell, and an actress’, Neil Fitzpatrick for playing ‘a Charles Zwar. Leo Packer was assigned as was unaccustomed to tryouts of any raucous insults about trollops and “dingoes” Wilson and Johnny Rohan. Their major orchestral version with Brian May and the sufficiently naïve and Irish, Daniel Brady’ musical director, and orchestrations were musical, let alone a local one, and with and such’. criticism, however, was for the absence of ABC Melbourne Show Band. In 2000 the and said ‘Frank Gatliff was an amusing and by Verdon Williams. Between the Union little pre-show publicity, audiences were But the writing was on the wall. any close-ups of the legendary whipping Bayview (US) CD reissue of the original swaggering American Sam Vanderberg’. Theatre season and Brisbane the second act sparse for its brief run. Audience response was dismal and the scene. Hopgood was the only actor to appear Trust cast album restored the two songs that Others to be noticed were Glen song, ‘She Was Like The Gold’, was cut By the time the Sydney season opened show closed at a loss of £31 581. A few in all four productions, the original Union had been dropped from the LP. ‘There’s Balmford and Hugh McDermott. Although and replaced with a reprise of ‘I Alone’. on 25 October 1958, Eric Thornton had weeks later EMI, in a first for Australian tryout, plus the Trust, radio and TV versions. Gold In Them There Hills’ was taken from The Bulletin carped that ‘some of the best In The Courier Mail (2 October 1958) replaced Michael Cole as Daniel, and theatre, released an original-cast LP. It had Thirty years after its first production, the a radio program of the show, and the songs have overseas big brothers’, the score Roger Covell called the show a ‘genuine Lola’s second act solo, ‘A Lady Finds Love’ been recorded in Sydney by Ron Wills, on show had a major revival (3 December 1988) unaccompanied ‘Ballad Of A Tree’ was was generally liked. Howard Palmer’s 19, 23, 24 and 25 September with the in Canberra for the 1988 bicentennial. specially recorded for the reissue. headline in The Sun News-Pictorial Using a slightly revised script, it was Although Lola finished in the red, it (20 February 1958) called Lola Montez ‘a Left: Frank Gatliff (Vanderburg) and Justine again directed by Alan Burke, and featured certainly put the names of Stannard, show to see’. He went on to say that he Rettick (Lola), Union Theatre Repetory Kate Peters as Lola. W.L.Hoffman in The Benjamin and Burke on the map. They thought it would sell abroad. The Herald’s Company, 1958. Canberra Times (4 December 1988) said it were next commissioned by ATN–7, Harry Standish (20 February 1958) said Below: Frank Wilson (Vanderburg) and the ‘offers a pleasantly entertaining evening of Sydney, and Shell Oil, to write an ‘there are good choruses and songs with Ladies of the Town, AETT, 1958. music-theatre’. Australian musical for family television world class lyrics and catchy enough tunes’. which resulted in the trio creating But he thought Lola lacked fire: ‘Lola herself Pardon Miss Westcott, which was is the disappointment of the show. However broadcast live at 9.30pm, much past her prime, she should be a 12 December 1959 and repeated dancer, with fire to stir the diggers to throw two weeks later on Christmas nuggets. Justine Rettick doesn’t get near it.’ Day at 5pm. It was the most The public responded positively to the ambitious and costly project ever notices, which resulted in the season being undertaken by ATN-7 at the time, extended. On opening night, Hugh Hunt, and was the first original executive director of the Elizabethan Trust, Australian television musical. announced that the Trust would mount a This time the authors again full-scale production later in the year. chose to work in period, and set The Trust came good on its word. It their show in Sydney in 1809 after scheduled its production of Lola Montez to Governor Bligh’s departure and open at Her Majesty’s Theatre, Brisbane, before Governor Macquarie’s arrival. on 1 October 1958, to be followed by a It told the story of Elizabeth transfer to its Elizabethan Theatre in the Westcott, a young woman Sydney suburb of Newtown. Top-starred as transported from England who *

Page 32 ON STAGE Summer 2008 Page 33 slyly arranges her own ticket-of-leave and Poole Singers, with Shimmering there in the breeze Concertino’ (1999). He returned to Lyrics of ‘The Red Shawl’ are used by kind opens an inn with the help of the colonel conducting the ATN Concert Orchestra. The red flashed in my eye. musical theatre with Rosie in 2005. permission of Peter Benjamin. who runs the colony. It starred Wendy Queenie Ashton was the only member of Oh, the fringes were flying With music by Stannard and book UTRC photo courtesy of Justine Blacklock in the title role, with Michael the original TV cast to repeat her performance And so was I — and lyrics by Frank Hatherley, Rosie Rettick. AETT production Cole, Queenie Ashton, Nigel Lovell, Chris on the disc. When there’s Irish in you, premièred at the Independent photos by Fred Carew. Christensen, Nat Levison and Michael On the release of the album a year later Whether you’re faded or fair, Theatre, Sydney, (6 August 2005) References Walshe. David Cahill directed the show, the reviewers were impressed. ‘ATN stars How can you feel like a queen in with Geraldine Turner in the title Books and newspapers which had orchestrations by Julian Lee and Peggy Mortimer and Neil Williams skip a palace role, and a cast that included sourced for this article Tommy Tycho and musical direction by Tycho. through the light Stannard and Benjamin And not have a crown in your hair? Angela Toohey, Rodney Dobson, include: As with the score of Lola Montez, there numbers with grace and humour, and Stannard and Benjamin began working on Jillian O’Dowd, Hilton Bonner, Philip Parsons: were a couple of rousing male choruses, Queenie Ashton is…well, Queenie Ashton’ a fourth musical, Hot X Line, an original Tyran Parke, Jeannie Kelso, Companion to Theatre in ‘Heigh Ho, You’ll Never Go Back’, and (The Sun, 24 November 1960). idea that was based on a joke. In the 1960s Rohan Seinor, Nick Simpson- Australia, Currency Press, ‘Grog Song’, two feisty numbers for Wendy In 1965 the trio wrote their most Australia’s population was around 12 Deeks and Alexander Lewis. 1995 Blacklock, ‘Send For Me’ and ‘I’m On My ambitious work yet, a light opera version of million. The premise for the show was that The show was inspired by Peter Pinne: Way’, and two solid ballads for Michael ’s much-loved, working-class the country would be sold and each member Rose Shaw, a real-life Martin Australian Performers, Cole, ‘You Walk By’ and ‘Sometimes’. One novel, Harp in the South. of the population would receive $1 000 000 Place flower seller, who Australian Performances, of the highlights was Queenie Ashton in her Burke had already directed a play which they could use to move and live dreamt of one day becoming Performing Arts Museum, character number, ‘Our Own Bare Hands’. based on the book for BBC–TV in London, anywhere they wanted to in the world. an opera star, but instead 1987 The television critics enthused: ‘…an and was keen to bring it to the stage. To The tag, of course, was that nobody ended up a Sydney icon. Liner notes for Bayview entertaining and beguiling tuneful this day the work remains unproduced. wanted to move. The show was never Stannard’s score was old- CD reissue of the original premiere…Nine numbers in a 75-minute The reasons are probably cost. In 1965 no completed, but one of the songs from the fashioned, but still highly cast recording, 2000 show is pretty fair value and the Stannard- producer was prepared to gamble on a score, ‘Nothing’s Going To Stop Me Now’, melodic. Hatherley’s lyrics, The Sydney Morning Herald, Benjamin tunes and lyrics were fluent, neatly local work that required a large cast, a big survives on a recording by Dawn Dixon while not as felicitous and lyrical as Peter show in the world, but it is The Bulletin, The Age, The Courier turned and literate.’ (SMH, 15 December orchestra, and expensive sets, but there is with Tommy Tycho’s Orchestra. Benjamin’s, were nevertheless workmanlike. entertaining. Part of the problem is that Mail, The Canberra Times, The 1959), ‘As a musical I liked Pardon Miss no denying the piece contains some of Hot X Line was the end of the line for The title character had several good the title character is not really a starring Sun, The Sun-Herald. Westcott even better than Lola Montez written Stannard and Benjamin’s finest work, as the partnership. Although continuing to songs, ‘My Name Is Rosie’, ‘I Came Here role. In the original production Lola’s by the same team of Peter Stannard and this excerpt from the lyric of ‘The Red write music, Stannard focused his career on To Sing’, ‘You Can Take It From Rosie’, entrance was 45 minutes into the first act. Peter Benjamin’ (The Sun-Herald, December Shawl’ testifies: advertising, while Benjamin went into his and there was one exceptional male ballad, (The script has since been revised and now 1959). ‘Diminutive , as the roie (sings): family’s retail department store business in ‘Never Wait Until Tomorrow’, but there she enters 15 minutes after the show starts). Miss Westcott of the title, had difficulty in Mumma, I wanted to touch it, hold it, Sydney. In 1995 Benjamin surfaced as the were also some clunkers, ‘The Things You She has one major number to sing, ‘Let Me reaching some of the high notes’, said The And it just had to be mine — Silky creator of the ‘Oxford Street Medley’ in See In A Big City’ and ‘Hi There, Sydney!’. Sing! Let Me Dance!’ two duets with her Sun’s TV Topics (18 December 1959), but and shiny and bright as a ruby, ’s cabaret act, writing parody Critics called the show old-fashioned, manager, ‘Maria, Dolores, Eliza, Rosanna’ thought ‘Nigel Lovell as Colonel Paterson, So filmy and fancy and fine. lyrics to three Cole Porter tunes, ‘I Get A which it was, but praised the cast: ‘Turner and ‘Partner, Name Your Poison’, and one the Acting Governor of NSW, was outstanding Mumma, you mustn’t be angry. Mumma? Kick Out Of You’, ‘Anything Goes’ and is convincing as the larger-than-life, warm- comic ballet in the ‘Spider Dance’. It’s not in the supporting cast’. Couldn’t you please understand? ‘You’re The Top’. hearted and charismatic Rose… In “Never enough. The show was recorded for LP by Peggy Would you believe you could hold Stannard went on to compose some Wait Until Tomorrow”, Dobson touchingly In contrast, the character of Charity, in Mortimer, Neil Williams, Stewart Harvey, so much beauty serious works, notably his 1998 ‘Capriccietto’ renders the show’s finest song.’ Audiences Sweet Charity, a major singing and dancing James Harris, Alan Light and the Claire And not feel its weight in your hand? for flute and piano, and ‘The Entheon were hard to come by, and the show role, has seven numbers either with chorus limped along until it closed on 1 October. or solo. Jane Martin (Jane) and Michael Cole (Daniel), AETT, 1958. A theatre that was frequently dark was no But the score of Lola Montez still ranks Preparing to record Lola Montez at the EMI Studios, Sydney, 1958: help. No commercial recordings were as one of the best written for an Australian L to R: composer Peter Stannard, musical director Leo Packer, released of the music, although a three- musical; it was even endorsed by Broadway lyricist Peter Benjamin, record producer Ron Wills. track promo CD of instrumental versions critic Ken Mandelbaum on the CD reissue of of ‘The Gumboot’, ‘Hi There, Sydney’ and the EMI cast recording: ‘Wildly tuneful ‘High Time’ was sold with the souvenir with half a dozen terrific numbers.’ And it program. Agent David Spicer, who is. When it was written it might not have controls the performing rights, also Brigid Lenihan as Lola, by Rowley, 1962, seemed very Australian, and it does have included a vocal version of ‘My Name Is echoes of Broadway shows of the period, Rosie’ sung by Jillian O’Dowd (who as *On Stage has a few copies remaining of but 50 years later, as Frank Van Straten young Rosie sang it in the show), on his this wonderful complimentary CD Musical said reviewing the CD reissue, the score promotional CD Musical Spice 2 [distributed Spice 2. If you would like one, just contact still ‘sparkles’. us with your name and address at victt@ to VTT members with On Stage, Summer bigpond.net.au, or send your request to PO 2006*]. Special thanks in the preparation of this Box 382, Malvern Victoria 3144, and we’ll Peter Stannard and Peter Benjamin are article go to Peter Stannard, Peter Benjamin, include it with your next copy of to be proud of Lola Montez. It’s not the best Gay Laurance-Daniel and Frank Van Straten. On Stage. n Page 34 ON STAGE Summer 2008 Page 35 Limelight Critical condition Out and about among the Who’s Been Seen Where on the theatre scene. Appalling songs sink Sisters’ latest gross-out is how Melbourne’s The Age’s reviewer Cameron Woodhead headed his review of the Sisters Grimm’s production Bumtown at the Brunswick Mechanics Institute. Here’s his 12 November 2007 review from hell.

1 2 3

he brains behind Sisters Grimm, sound like a Broadway chorus on tranquillisers. spectrum of repellent characters: Amy Ash Flanders and Declan Greene, From what I could make out, some of Turton as a delinquent heroine, Kelly Parry Tdescribe themselves as ‘two trash- these were quite funny in a disgusting sort as a urine-drinking grandma; the screeching talking homos on a kamikaze mission to take of way. But the incessant junkyard percussion depravity of Gillian Perry as a dogsbody out Australian theatre’. Their work to date and dodgy microphone technique drowned turned dictator; the high camp of Miles has certainly been a form of aesthetic suicide. out half the lyrics, and had me longing for Rabies as a simpering judge; or the drug- Flanders and Greene produce queer deafness during the first act. fuddled pretension of Simon Morrison- 4 5 6 gross-out plays — inspired by Troma films Trash mavens will know that the plot, if Baldwin as a chroming artist. and director — that are hilarious, such it may be called, is shamelessly lifted from Pride of place, though, goes to Flanders 1 Former National Theatre Opera Company stars Justine Rettick (left) and Barbara Wilson at Justine’s 80th birthday celebration, 21 October 2007. inane, intentionally shithouse and often vile John Waters’ Desperate Living. As with that as the haggard, sadistic lesbian sidekick — if beyond belief. Their latest, Bumtown, film, a criminal heroine escapes to a only because of the nauseating full frontal, 2 Ken Mackenzie-Forbes and Mary Murphy at St Martin’s Theatre for the concert presentation of Matthew Robinson’s Pratt Prize winning ventures into new terrain. It’s a musical. shantytown, falls in with a motley crew of complete with mangina and shrivelled fake tits. musical Metro Street, 22 October 2007. Not that there’s much musical about it. perverts and helps overthrow a tyrannical When they’re not singing, Bumtown is a 3 Geraldene Morrow and Peter Pinne at Magnormos’ OzMade Musicals at the Athenaeum, 10 December 2007. Rose Turtle Ertler’s songs are appalling. regime. moderately enjoyable theatrical atrocity. 4 Maggie Fitzgibbon opens the Victorian Jazz Archive’s Fitzgibbon Dynasty exhibition, 21 October 2007. They include a twee tune about the joys of Beyond these resemblances and the When they are, you want to take a butter 5 The man himself: Nick Cave at the opening of Nick Cave: The Exhibition at the Arts Centre, 9 November 2007. pederasty, angry thrash metal from a man- imitation of Waters’ transgressive style, knife to your wrist. hating lesbian, some repulsive love duets Flanders and Greene achieve some originality 6 Well, bless me, Father! Chris Thompson, Australian Catholic University’s teacher of playwriting, dressed for the occasion at the gala and a few enervated showstoppers that with gratuitously offensive dialogue and a Reprinted with thanks to Cameron Woodhead reopening of Central Hall, Fitzroy, 31 October 2007. and The Age. n Page 36 ON STAGE Summer 2008 Page 37 Victoria in Sydney, where he proved and Colville stepped into the breach and took his benefit on 23 April 1872. He offered A colonial entrepreneur himself a champion of locally written plays. with Matthews as the Theatre Royal’s lessee generous measure: The Rivals, his own lecture An all-but-forgotten colonial entrepreneur, William Hoskins, is remembered by Adrienne Simpson Until 1871, Hoskins confined his and Hoskins as manager, the reborn company on ‘The Unseen Characters of in the centenary year of the third Christchurch Theatre Royal. activities to Victoria and . commenced operations on 5 March 1872. Shakespeare’ — which dealt learnedly with Early that year, he decided to try his luck in Reviewers immediately detected an such shadowy figures as Caliban’s mother, illiam Hoskins — ‘Old Hoskins’ Although not free from thespian vanity, the third most important of the Australasian improvement in its performances and Tavares Sycorax, and Shylock’s wife, Leah — and a or ‘Billy’ as he was familiarly he never exaggerated his talents. Outside colonies, New Zealand. He chose a promising had the mortification of seeing Hoskins farce, The Silent Woman. This ‘concluded one known to audiences throughout the theatre he loved good food and wine, W young, colonial-born artist to partner him in receive better notices than he had. Within a of the most enjoyable bills of fare that have Australasia — was one of the more interesting played billiards well and enjoyed gambling. a repertoire of short, two-person comedies fortnight he and his wife swallowed their ever been submitted to a Christchurch and accomplished of the many English actors Inside the theatre he was a thorough and scenes from longer plays. Her real name pride and rejoined the company, but under audience.’4 The following day the drama who sought fame and fortune on the colonial professional, able to move easily from was Florence May Rice, but she worked Hoskins’ management. troupe dispersed and Hoskins and Colville stage. Yet his contribution to the 19th century Shakespeare to drawing room comedy. This under the stage name of Florence Colville. Nevertheless, the troupe was basically a resumed their interrupted tour. colonial theatre has been largely overlooked. versatility made it hard for him to advance Accompanied by two instrumentalists, Hoskins mediocre one. Hoskins worked hard to His Christchurch successes possibly sowed Scholars have noted his time as the further in his profession and possibly influenced and Colville set out on an extended New improve the players and drill them into a a seed in Hoskins’ mind. His wife had died inaugural manager of Ballarat’s Theatre his decision to seek a new life overseas. Zealand tour with what they described, in better ensemble. Tavares’ return added in Melbourne after a protracted illness and Royal and his advocacy of such Australian The highest rank in the hierarchical advertisements, as their ‘Elegant, Amusing strength. Although he was a wooden actor, he found his theatrical opportunities there plays as Walter Cooper’s Colonial world of Victorian theatre was that of and Fashionable Drawing Room he declaimed blank verse well. This enabled being affected by an influx of younger Experience, but little attention has been ‘tragedian’ — a term originally adopted by Entertainment’. They reached Christchurch actors. New Zealand offered less competition, paid to his overall career. This article the most influential of mid-19th century on 27 March 1871. ‘We have never had more scope, and a proven welcome. In 1873 examines the years he spent in New English actors, William Charles Macready, to A touring drama troupe was already at he and Colville crossed the Tasman again. Zealand and, in particular, his association indicate that he was a serious artist who better, and very rarely the Theatre Royal — the original theatre of After taking over a drama troupe that had with Christchurch where he founded a played only such heroic Shakespearian roles that name in Christchurch.2 Hoskins and indeed such good acting been playing at the Queen’s Theatre, Dunedin, permanent professional drama company. such as Macbeth and Othello, or the central Colville appeared at the Canterbury Music he brought most of its performers to Hoskins raised performance standards roles in modern blank verse dramas like in Christchurch’ Hall. Their opening program included an Christchurch and established them as the in Christchurch to previously undreamt of Lytton’s Richelieu and Sheridan Knowles’ elegant comedy, A Morning Call, and Hoskins to mount Othello on 18 March, with Theatre Royal’s first stock — or heights. He introduced the public to the Virginius. As a specialist in comedy and excerpts from Sheridan’s The School for himself in the title role, Colville as Desdemona resident — company. The term ‘stock best new plays — often well before they character roles, Hoskins could never attain Scandal. The Christchurch critics were and Tavares as Iago. It was not an unqualified company’ denoted a troupe of players who were seen elsewhere in New Zealand — and the status of a Macready or Phelps. He enchanted and urged theatre lovers to see success. Tragedy, as the critics pointed out, remained semi-permanently at one theatre, briefly made the city the finest theatrical knew of several fellow professionals who the couple. ‘We have never had better, and was not Hoskins’ forte. Dion Boucicault’s rather than touring from place to place. centre in the country. He also helped had found wider horizons by moving to the All-but-forgotten: colonial entrepreneur very rarely indeed such good acting in well-loved London Assurance the next night Members of a stock company had to be mastermind the construction of its first colonies, so when his opera singer wife, William Hoskins. Christchurch’ enthused one, while another suited both his and the company’s talents quick studies and possess limitless stamina. purpose-built theatre. But Christchurch Julia Harland, whom he had married in described their performance as having ‘a far better. It was followed by a sparkling The They held their audiences by offering value owes Hoskins an even greater debt. More time and one which Hoskins heartily 1850, was offered a contract by the grace, ease and spirit which left nothing to School for Scandal with Hoskins and Colville for money and plenty of variety. than anyone else, he was responsible for embraced. He also embraced his mentor’s proprietor of Melbourne’s Theatre Royal, he be desired’.3 Further acquaintance heightened as Sir Peter and Lady Teazle. This set the Each performer tended to specialise in establishing drama as an integral part of the love of Shakespeare. had no hesitation in seeking a similar contract this favourable impression. Colville was seal on what would be the best drama one type of role and could play, at short city’s cultural life. Phelps had done much to strip away the for himself. extremely pretty, with a good stage season Christchurch had yet enjoyed. notice, dozens of parts within that William Henry Hoskins was born in alterations and additions inflicted on Hoskins arrived in Melbourne in June, presence and a sweet, clear voice which Comedy predominated over the next specialisation. Programs often changed England at his family’s estate in Newton Shakespeare’s plays in the past. Following 1856. He was 40 years of age. After successful rang easily through the theatre, while five weeks, interspersed with popular nightly and usually comprised a main play Solney, near Burton-on-Trent, Derbyshire, his example, Hoskins developed into an débuts there and in Sydney he opted to Hoskins was not only a gentleman, in terms melodramas and the occasional Shakespeare plus an ‘after piece’ in the form of a short on 17 February 1816. He was intended for ardent Shakespearian. When he became an tour the goldfields, but was laid low by of social standing, but an actor of obviously (Othello and Richard III ). The most interesting comedy or farce. Further variety was added the law, but threw in his studies at the age actor/manager in the colonies he modelled rheumatic fever. Recurring bouts of ill health, superior ability. Their planned five night offering was the New Zealand premiere of by utilising touring stars who moved from of 19 to become an actor. After gaining himself upon Phelps, adopting his management compounded by a fondness for good living, stay was extended until 13 April and hopes Boucicault’s Formosa on 1 April 1872. The centre to centre, often bringing their early experience, mainly on the English methods and trying to present plays — especially would plague the rest of his career. were expressed that they would join forces play had caused controversy on its first favourite plays with them. provincial circuit, he joined Samuel Phelps’ those of Shakespeare — with the same fidelity Having established his credentials as an with the Theatre Royal troupe and give appearance in 1869 because its heroine was Christchurch’s first stock company was company at Sadler’s Wells in 1846. and attention to detail that had characterised actor, he began making forays into Christchurch a first-rate drama company. a fallen woman. There were some protests exceptionally strong by New Zealand Phelps had taken a run-down theatre in performances at Sadler’s Wells. management. At the end of 1858 he took This wish was granted a year later. In in Christchurch, but they did not stop Formosa standards. Hoskins was manager and principal a rough area of London and transformed it In all, Hoskins spent seven years with charge of Ballarat’s newly built Theatre March 1872, Hoskins and Colville revisited drawing good houses for six performances. character actor. Heroic and tragic roles were into a Mecca for drama lovers. His Phelps, starting as a juvenile and rising to the Royal, where he delighted audiences with a Christchurch on the return leg of their tour, Mid-April brought a flurry of the province of the dashing J.B.Steele. The company was renowned for being an position of the company’s principal light wide-ranging repertoire which included 20 to find another small theatrical troupe benefits — the traditional prelude to the end other men included Joe Stark, an excitable ensemble, rather than a collection of comedian. One commentator recalled him Shakespeare productions notable for their ensconced at the Theatre Royal. It was in of a season. On a benefit night, a nominated little Cockney comedian, the versatile and individuals. He insisted on high standards, as tall, with a slight stoop and marked exceptional acting and ensemble. These lost some disarray. Its leading man, Morton member of the company received the net dependable H.N. (Nat) Douglas, and Charles rehearsed his actors thoroughly, and eyebrows, which he had a habit of bending the theatre’s owners a great deal of money Tavares, had flounced out with his wife, the proceeds of the performance. Well-attended Burford, whose sepulchral voice made him endeavoured to present plays with integrity together ‘in a puzzled kind of frown’. He and brought his management career to a leading lady, claiming the other players were benefits were not only marks of public an ideal stage villain. Walter Hill played rather than tinkering with them to enhance was courteous, stylish in dress, and ‘a temporary halt. In 1862 he briefly not good enough for him. Among those left appreciation but welcome insurance policies broad comedy roles and doubled as stage his own roles. singularly good comedian, quite inimitable co-managed the Melbourne Theatre Royal stranded was one of Hoskins’ former London in a profession where unemployment was manager. Colville, already a popular This was an unusual attitude for the in his way’.1 and in April 1868 reopened the Royal elocution pupils, Cassy Matthews. Hoskins frequent and pensions unknown. Hoskins drawcard, was soundly supported by * Page 38 ON STAGE Summer 2008 Page 39 Flora Anstead, Docey Mainwaring and Mrs Robinson’s characters and situations At his benefit on 16 January 1874, and happy to work for him again. fared much better. All three received good Walter Hill, a capable leading lady in her reflected ordinary life and his dialogue was Hoskins took the opportunity to thank the Although he was a hard taskmaster, reviews and were well-supported by the own right. The older Hill daughters, who considered, in its day, to be very natural. This press and public for their patronage; fifty- (scathing of those who arrived late at public. By the time the season ended on worked under the stage names Lily and ‘natural tone’ impressed the Press reviewer, who seven different plays had been presented rehearsals or failed to master their lines) his 8 March 1876 the company had notched Arethusa May, featured in juvenile roles. noted that: ‘There is no straining after effect, over the 77 night season and his only knowledge and ability were greatly up an astonishing 167 performances Some of these players would work with no sensation, yet the plot is so constructed grumble was that the theatre had not been respected. More importantly, while his involving over 100 different plays. Hoskins for years. as to keep alive the interest of the big enough to accommodate all comers. He salaries were not overgenerous, he always Christchurch theatregoers undoubtedly The Theatre Royal, like all theatres of its audience...’.6 felt it a pity Christchurch ‘should not have a paid — unlike some managers who valued Hoskins’ efforts. As one time, already had ancillary staff to work W.S.Gilbert’s The Palace of Truth (first home more worthy of the drama’.8 He and unhesitatingly abandoned their companies commentator put it: ‘He has always machinery and lights, quantities of basic scenery, seen in London in 1870) and Pygmalion and Colville concluded the evening with a light- in times of financial stress. Professional endeavoured…to place pieces on the stage scenic artists available on call, and a small Galatea (1871), were shrewd satires in which hearted trifle, The Happy Pair. It was an theatre had been only sporadically in a first-class manner. Not only so, but by band of instrumentalists to available in Christchurch in recent months, careful selection of high class pieces he has supply appropriate music. so Hoskins’ troupe received a hearty endeavoured to foster the public taste for a Stock companies were welcome. All the old favourites were higher character of dramatic works than is normally found in large cheered as they appeared on opening usually the case with colonial managers, centres. To establish one in a night, but the biggest cheers of all were and thus raise the status of the drama place with a population of less reserved for Hoskins and Colville. amongst us.’ 9 than 14 000 was a huge gamble The company’s preliminary Hoskins himself was happy in but Hoskins’ venture paid off advertisements promised ‘a change of Christchurch but increasingly disenchanted from the start. A crowded program nightly’. This was maintained for with the Theatre Royal. It was basically a house greeted the opening the first five weeks, as Hoskins worked to converted concert room, without modern double bill of Camille and A create audience loyalty with a rapidly facilities, adequate ventilation or enough Quiet Family on 18 October 1873. changing selection of comedies and Florence Colville, Hoskins’ leading lady on seats to satisfy demand. Ill-heath prevented Hoskins melodramas. He then leavened his standard stage as in life. Other centres were acquiring purpose- appearing until 22 October, fare with longer runs of new or more built venues. Christchurch lagged behind. when he received a rousing ambitious plays, plus occasional excursions While his company took a break, Hoskins smaller roles indifferently played, there was reception in what would into Shakespeare. It was an effective formula. oversaw the alternative attractions at the a general feeling of pride that such a famous become one of his trademark Christchurch playgoers relished the tried Theatre Royal and worked on plans for new work could be so well realised on the roles, Charles Surface in The and true favourites they remembered from replacing the building with something worthier. Christchurch stage. Concluded in the next edition of On Stage School for Scandal. Exterior of Christchurch’s first Theatre Royal, pre-emigration days, but were equally keen The Shaughraun ran for 12 nights and was As the season progressed, attendances characters were forced, by supernatural built as a concert hall in 1863. to see the latest from London because they later revived for another three. In between, References: remained gratifyingly high. Even bad weather intervention, to reveal their true selves. liked to feel in touch with the wider world. Hoskins took the opportunity to star his 1. Godfrey Turner, 'The First Nights of My failed to dampen public enthusiasm. Prices Pygmalion and Galatea (3 November 1873) Over the next few seasons Hoskins also guest artist in other works, including Young Days', The Theatre (1 May 1887) were reasonable: three-, two- and one-shilling was notable for Colville’s enchanting appropriate choice. On 27 January the mounted 14 of Shakespeare’s works, mostly Boucicault’s earlier Irish plays, The Colleen p. 250 for circle, stalls and pit respectively, or £2.2.0 performance as the statue of Galatea, which couple married at St John’s, Latimer Square. in short runs or single performances. The Bawn and Arrah-na-Pogue. 2. Christchurch has had three Theatres for a monthly ticket. Late trains each Thursday comes to life and speaks its mind with After a honeymoon in Akaroa, they left to playwright who figured most prominently in After Wheatleigh’s departure he continued Royal. The first was originally built as a brought country patrons flocking. During Race devastating candour. The Palace of Truth, try their luck on the American circuit. his repertoire, however, was Dion Boucicault. to ring the changes. His innovations included concert room in 1863 and re-named Week in November — traditionally a good time premièring on 11 December, was a huge The result was chastening. English Boucicault had dominated London’s a traditional pantomime, which attracted ‘'Theatre Royal’ three years later. The for entertainment because Christchurch was success. Despite prices being raised to cover actors were not popular in America. West End for nearly two decades with a capacity houses over the New Year period, building of the second will be covered thronged with free-spending visitors — the the enormous costs of mounting it, the play Hoskins, at 57, was too old to interest string of successful plays which mixed and a sensation drama, Crime in the Clouds, in the next issue of On Stage. The Theatre Royal was full to overflowing and ran for 10 nights and was still attracting full managers looking for new talent and pretty comedy, sentiment, and stirring action with written by the company’s prompter and bit- second Theatre Royal was demolished numbers were turned away at the doors. houses when taken off. The costumes were actors of Colville’s stamp were two-a-penny. dollops of sensation and spectacle. part player, Lancelot Booth. This had and replaced by the current theatre of Even the critics found little reason to carp, pronounced ‘gorgeous’, the dialogue ‘smart By 1875 they were back in New Zealand. His latest hit, the Irish comedy-drama previously been seen in Auckland in 1871. that name in 1908. one declaring that: ‘…the playgoing public and amusing’ and the scenery was so Hoskins set up a new company in Dunedin The Shaughraun (1874), had just been It included an act set in New Zealand, 3. Quotes: Lyttelton Times, 28 March 1871, must feel indebted to Mr Hoskins for the spectacular that the scenic artist received but, faced with strong competition, he soon introduced to Sydney by an actor he complete with historical allusions and an p 2 and Press, 28 March 1871, p 2, judicious selection of pieces he has made since three curtain calls on opening night. It was transferred it permanently to Christchurch. personally endorsed, Charles Wheatleigh. historical character, the colourful Gustavus respectively. his company opened here; and it is pleasing to ‘without exception one of the greatest On 28 August he resumed the lease of Hoskins scored a coup by engaging von Tempsky. The work was performed 4. Lyttelton Times, 24 April 1872, p. 2 observe the degree of care with which they dramatic successes we have seen here’.7 the Theatre Royal. This time he elected to Wheatleigh as a guest artist. On 2 October twice 5. Lyttelton Times, 25 October 1873 are presented.’5 The season was a financial and artistic manage both his own troupe and the theatre 1875, a packed Theatre Royal witnessed The (19 and 21 February 1876), but made no 6. Press, 26 December 1873, p. 2 Three recent plays by English playwrights triumph for Hoskins, so news that he and itself. This meant he was responsible for Shaughraun’s New Zealand première. Both lasting impression. 7. Quotes: Lyttelton Times, 12 December 1873, were premièred during the season. Tom Colville intended leaving Christchurch came providing alternative attractions between the play and Wheatleigh’s performance as Hoskins also staged four carefully p 2 and Press, 12 December 1873, Robertson’s 1869 comedy, School, débuted as a great disappointment. Although the drama seasons. Conn, the resourceful servant who solves rehearsed Shakespeare plays. Othello failed respectively. on 24 December 1873. It represented the company would continue under other His original company no longer existed everyone’s problems, were well-received. miserably, through lack of a suitable actor to 8. Lyttelton Times, 17 January 1874, p. 2 new trend towards domestic realism in management, most commentators felt it but most of its players, with the exception of Although the theatre’s technical facilities play the title role. As You Like It, Much Ado 9. Press, 22 December 1875, p. 2 n British drama. would struggle without its two best performers. J.B.Steele, were available for re-engagement were manifestly inadequate and some of the About Nothing and The Merchant of Venice

Page 40 ON STAGE Summer 2008 Page 41 Competition, an afternoon of emerging program in the nation will celebrate and arts students, and restore teaching hours to All the world’s a stage talent — from poetry readings to brass honour indigenous art and culture. previous levels. bands — and two memorable performances n Perth Theatre Trust — Venues The students say the university has Australia: Melbourne to bring it back into working order.’ who established the trust responsible for by the Savoy Opera Company of — what Ignite — $600 000: To grow the capacity of already started making cuts, with face-to- Old Central Hall is new again The Ian Potter Foundation, the Catholic restoring the property to its former grandeur else? — Gilbert and Sullivan’s . audiences to experience more national and face teaching time reduced, studios under Archdiocese of Melbourne, the Australian and maintaining it into the future. The displays Melbourne has a stunning new 104-year-old international touring performances than threat, and only one live performance in Government Department of Environment also document the meticulous, painstaking Also see On Stage, Autumn 2007. ever before. nearly three years of study. concert venue — Central Hall in Fitzroy, & Water Resources and ACU National all restoration of the house and garden. n Philanthropy and Sponsorship Incentive ‘These are not the studying conditions officially reopened on 31 October 2007. contributed to the $3m restoration. The museum room was officially opened Australia: Perth Schemes — $500 000: Two programs to that the students were led to believe they The Australian Chamber by Michael Tallis (Sir George’s Setting the arts on fire encourage long-term investment in the state’s were auditioning for at the outset,’ they wrote. Choir had the honour of grandson) and his wife Joan, on 16 arts by the private sector and philanthropists. ‘We are left to conclude that instead of presenting the first official December 2007. On 13 December 2007, WA Premier, Alan n Perth Theatre Trust — Perth Concert Hall exercising responsible stewardship for these concert — appropriately enough on Carpenter, announced a new arts and culture Also see On Stage Winter 2002 and and His Majesty’s Theatre — $3.1m: Both courses, the university resorted to the use of St Cecilia’s Day, funding program, dubbed Ignite. The total Summer 2005. venues will have new state-of-the-art sound stealthy bureaucratic methods to quietly kill 22 November. package of $73m over four years includes systems, and the Perth Concert Hall will them because they were unprofitable, rather The hall has advance bookings $51m of new one-off and capital initiatives. have its 35-year-old seats replaced. than unpopular.’ for a wide variety of events, many Australia: Kew, Victoria This is the biggest single arts funding n Arts Capital Fund — $5m: A special one- Third-year student Dimitra Harvey said of which will highlight its versatile Court out initiative in the state’s history. off, user-friendly fund to assist practising more than one-third of the students who staging possibilities along with its Premier Carpenter described Ignite as a Restoration and transformation of the Kew professional arts and community organisations started the degree with her had dropped out. superb acoustics. comprehensive and visionary package of Court House into a community arts centre through the enhancement of existing arts ‘The problem is we’re getting less hours, initiatives designed to transform dance, Also see On Stage, Summer 2005 has moved a stage closer. and cultural facilities throughout WA. we’re getting barely any public performances theatre, music and visual arts, changing the and Winter 2007. On 10 December, after two hours’ debate, n Contemporary Dance Strategy — $1.6m and we’re still paying the same HECS,’ she said. shape of the state’s cultural landscape. Booroondara Council moved to carry out over four years: To implement parts of the The executive dean of UWS’s College ‘Ignite will give the state internationally immediate remedial works to the Court Future Moves Contemporary Dance review. of the Arts, Professor Wayne McKenna, Australia: significant arts events; more large scale Houses, allocating a previously pledged A complementary strategy, Beyond said the university could not afford to offer Mornington, Victoria performances; more national touring $50 000 to complete the works. This will Ignite, will see a four-year continuation of a specialist acting degree, even though he Tallis the old, old story performances; and new cultural funding to involve sealing roof leaks, cleaning gutters the state’s policy of indexed funding for its regional Western Australia,’ Carpenter said. knew there would be demand. Thanks to director Anthony and downpipes, creating an emergency and key arts organisations. The state’s contribution ‘It will also improve the audience ‘Only the National Institute of Dramatic Knight and his dedicated team of safety lighting circuit, securing and vandal- to a contracted tripartite Australian experience at major performance venues Art is funded appropriately to offer such a volunteers, visitors to the heritage proofing all doors. As well the central tower Government funding model agreement will and community facilities across the state.’ course,’ he said. Beleura house and garden at will be pigeon-proofed, and some 2m depth provide the recurrent funding increases of Ignite, to be managed through the Mornington can now explore the of pigeon poo it contains will be removed. $702 000 for WA Ballet, WA Opera and Department for Culture and the Arts, will England: London property’s history property in a Council is now finalising construction Black Swan Theatre as part of the recent also partner the corporate sector and The hall is at the city end of Brunswick newly opened museum room (below). and tender documentation for renovations Funding Model Review. One door closes… private individuals to build their role in Street, adjacent to Australian Catholic The exhibits tell the story of the house and other building works, and applying to Negotiations will also progress for the investing in the state’s cultural life. Following the tragic closure of London’s University’s Melbourne Campus (St Patrick’s). and its occupants, including Sir George Heritage Victoria for the necessary approvals. remodelling of the state’s major organisations The program will be delivered from iconic Theatre Museum at Covent Garden, The restoration of the century-plus Tallis and his family. Tallis was for many Recent events in the Court House have with a focus on increased regional touring 2008 and further details will be made the Victoria & Albert Museum has venue was celebrated on 31 October with years the power behind the J.C.Williamson included a week’s season of performances and repertoire and performance capacity. available shortly. announced that work is underway on new an official reopening by Lady (Primrose) theatrical empire, and it was his son, John, of finalists in the National Playwrights’ The Ignite package includes the galleries at its Kensington headquarters that Potter AC of the Ian Potter Foundation and following items of particular interest to Australia: Sydney will be devoted to theatre and performance. Archbishop Denis Hart. Music was provided VTT members: Unkindest cuts An official release says, ‘The galleries will by pianists Keaton Cloherty and Kate Webber, n Large scale international arts explore the process of performance, from the mezzo soprano Ann Vercoe and organist Performance students at the University of events — $3.5m: To enable leading moment of inspiration, to the design Paul Taylor. Western Sydney have accused the institution international artists to work with WA artists process and realisation, right through to the ACU National Pro-Vice-Chancellor creating large scale public events. of putting profit before its students, leaving verdict of critics and audience. They will Professor Gabrielle McMullen said Central them under-resourced as it prepares to n Major Production Fund — $5m over four feature highlights from the V&A’s extensive Hall was an architectural treasure that years: For a competitive program enabling disband one of only two bachelor courses holdings of costumes, set models, designs would serve as an integral part of university artists and companies to ‘think big’ to in practical drama in Sydney. More than 50 and posters covering everything from baroque campus life. She continued, ‘Since it first create exciting new large scale works. students are still taking the course. to rock and pop.’ opened in 1903, this hall has been a significant n Regional Ignite — $5.6m over four years: They have written to the vice-chancellor, The new galleries are due to open in part of the Fitzroy landscape, the local Representing a 30 per cent increase to Janice Reid, and the university’s governing 2009. Meanwhile, the Theatre Collections’ Catholic community and the cultural life of regional grants and touring programs. body, demanding that UWS reverse its research facilities remain open as before. Melbourne. However, with no major works n Indigenous Art Award — $1.1m over four decision to terminate the course, stop plans being undertaken since 1934, it had fallen years: The richest indigenous art awards to turn over performance studios to visual Also see On Stage Spring 2007. n into disrepair, and needed special attention

Page 42 ON STAGE Summer 2008 Page 43 B-feature role of Tick/Mitzi. First reading Helen Mirren Wild and Woolley, 2007. 192pp. RRP $29.95 A roundup of books of theatre interest for people interested in theatre. In the Frame: My Life in Words and Pictures Black power projects come and go. And here and there This overdesigned autobiography is an Was she or wasn’t she? Working class Jill Stubington: Singing the Land: The are pearls of celebrity gossip. Well worth underwhelming read, short on show biz Stephen Bach: Glenn D’Cruz Power of Performance in Aboriginal Life the read. Missing is an index which would detail with just a very few gems. Sadly, no Leni — The Life and Work of Class Act: Melbourne Workers’ A comprehensive account of the central have been handy. comment on her Australian film with James Leni Riefenstahl Theatre, 1987-2007 importance of music, dance and ceremony Fourth Estate, 2007. 322pp. RRP $40 Mason, Age of Consent, except for a very Was she a Nazi or wasn’t she? Did she More than a history of a vibrant theatre in Aboriginal community life. brief mention. Also no index included. know of the Nazi’s atrocities or didn’t she? company, this book documents a particularly Currency House, 2007. 320pp. RRPs: Weidenfeld & Nicholson, 2007. 272pp. In his book, Bach records the long, Life in music turbulent period in Melbourne’s history, HB $54.95; PB $34.95 RRP $49.95 creative, litigious and controversial life of Doreen Bridges: marked by attacks on trade unions, asylum the woman who recorded Hitler’s More than a Musician — A Life of seekers, aboriginal and working class people Tuning up Nuremburg rallies (her Triumph of the Will E. Harold Davies by state and federal governments, and the The good old New David Tunley: is a classic of documentary design) and set A welcome biography (and personal forces of globalisation. ‘In an era when the New Theatre Management committee: the standard for sporting documentaries very concept of “class” has been discredited, William James and the Beginnings of memoir) of the distinguished Adelaide The New Years: The Plays, People Modern Musical Australia (Olympia, the record of the 1936 Berlin musical pioneer E. Harold Davies (1867– Melbourne Workers’ Theatre remains The fondly remembered Smacka Fitzgibbon. and Events of 75 Years of Sydney’s New Performer, composer, conductor, Olympics). She had direct access to Hitler, 1947), covering his work as a concert committed to principles of social justice and He and his extraordinary family are profiled Theatre broadcaster — William G. James did it all, often over-riding the dictates of Propaganda pianist, organist, choirmaster, teacher, Elder revels in using theatre as a form of political in a new publication available from the A concise but indispensable documentation and in the process he helped establish the Minister Göebbels to get what she wanted. Professor of Music, examiner, speaker, activism and protest.’ Victorian Jazz Archive. of New Theatre’s activities and achievements ABC as a major force that transformed Born in 1902 and dying in 2003, she was broadcaster and ethnomusicologist. Vulgar Press, 2007. 240pp. RRP $39.95 Archive’s exhibition The Fitzgibbon Dynasty, over its 75-year history. Dozens of evocative Australian musical life. fascinating, hyperactive up to the very last Australian Scholarly Publishing, 2006. with short biographical sketches of no fewer program covers are reproduced, and there Australian Music Centre, 2007. 134pp. $20 and, in Bach’s words: ‘Leni died as she had 200pp. RRP $34.95 Frankly Jason than eight of the remarkable Fitzgibbons: is a complete listing of every one of New lived: unrepentant, self-enamoured, Minnie, Maggie, Smacka, Faye, Nichaud, Theatre’s productions. Jason Donovan: armour-clad.’ Mark, Andrew and Dominic. New Theatre, 2007. 100pp. $22. Available The beat goes on All-star cast Between the Lines: My Story Uncut Borzoi Books, 2007. 386pp. RRP $65 Victorian Jazz Archive Inc., 2007. 12pp. from New Theatre, 542 King Street, Mark Whitty: Fine Tunes — A Tribute to Judith Buckrich: In this frank autobiography, Donovan talks Free. Available from Victorian Jazz Newtown, NSW 2042 Melbourne’s Jazz Pioneers Exploring Cave Design for Living — A History of about the drugs that nearly ended his career, Archive, PO Box 6007, Wantirna 3152 A personal history of Whitty’s merry journey ‘Prahran Tech’ his relationship with pop princess Kylie Minogue, Janine Barrand and James Fox: through the Melbourne jazz scene, profiling Included in this chronicle is a valuable his bitter battle with Face magazine, and his own A composer’s composer Nick Cave Stories — Told in Four Chapters the people he met along the way, from the section containing short biographies of many happy ending with his wife and two children. Advice from one who knows Graeme Skinner: Published to mark Nick Cave: The Exhibition, influential to the notorious. Accompanied of the people who have studied or taught at HarperCollins, 2007. 304pp. RRP PB Val Jellay: : The Making of an this handsome hard-cover book draws on by a CD of musical tributes to the story’s Prahran Tech. The roll call includes Laurie $23.99’ HC $65. Also available on CD as So You Want To Be in Show Business! Australian Composer the Arts Centre’s extensive Nick Cave main characters Allen, , John Cato, Ken Cato, an audiobook; RRP $3 In her latest book the indomitable Val Jellay Sculthorpe is widely held to be the most collection to provide an insight into lesser- PMI Press, 2007. 115pp. RRP $30 Hugh Colman, Paul Cox, Anna French, relates her colourful show biz journey, and important composer Australia has produced. known aspects of the creative life and times Available via www.pmi.net.au/for_sale.htm Alan Money, Sidney Nolan, Lenton Parr, This authorised biography provides an and the remarkable vision and imagination Meillon memories adds some invaluable professional advice Athol Shmith and Jonathan Summers. for aspiring entertainers. insight into his formative years: his quest of Nick Cave. Bunny Gibson and Frank Gauntlett: PMI Press, 2007. 276pp. RRP $35. JoJo Publishing, 2007. Soft cover RRP for a personal voice, and his Eastern gold The Arts Centre, 2007. 144pp. RRP Thanks a Meillon! Available from Prahran Mechanics’ $49.95; Collectors’ ‘plush padded’ signed journey — through many creative $59.95. Available only at the Arts Centre This ‘affectionate stagger down memory Wang Zhen Ting and Anne Doggett: Institute, PO Box 1080, Windsor, Victoria 3181 limited edition RRP $95 friendships and collaborations — to a place or on line. lane’ is really two books in one: first, a Chinese Music on the Victorian Goldfields in the collective heart of the nation. It is personal memoir by ’s second This account of Chinese opera and concert also a social history, charting the rise of activity in 19th Century Victoria is included Promises, promises The colour of Coral wife, Bunny Gibson, and, second, Frank Biographical treasure trove modernism in Australian music through the in a special ‘Music, Migration and Rose Collis: Gauntlett’s meticulously researched Diane Langmore (ed): Bruce Beresford: eyes of its key player. The book chronicles Multiculturalism’ issue of Victorian Historical Coral Browne: This Effing Lady chronicle of the helter-skelter life of one of Australian Dictionary of Biography, Josh Hartnett Definitely Wants To Do This… Sculthorpe’s life to 1974; a second volume Journal (Volume 78, Number 2). The indomitable Australian actress Coral Australia’s favourite actors. Volume 17 1981–1990 A–K True Stories From a Life In The Screen Trade is planned. Royal Historical Society of Victoria, Browne towered over the British and John Meillon Enterprises, 2006. 256pp. Includes: Norman Banks, Lyndall Barbour, ‘It occurred to me it might be of interest for UNSW Press, 2007. 752pp. RRP $59.95 November 2007. 288pp. RRP $10 n American stages for nearly half a century. RRP $25. Available from John Meillon people to read about the difficulties of Elsa Chauvel, Dorothy Crawford, Dymphna This witty and immaculately researched Enterprises Pty Ltd, PO Box 1070, Neutral Cusack, , Dame Doris Fitton, setting up films rather than chronicles of Coming in the Autumn issue of ON STAGE biography draws on interviews with her Bay, NSW 2089 Fasten your seatbelts them being made’, Beresford says in his Kathleen Gorham, Peggy Glanville-Hicks, friends and family and a wealth of Jeremy Stanford: n New life for San Francisco’s oldest theatre. intro. And interesting it is, going one move Ronald Grainer, Sir Roy Grounds, Sir previously unpublished correspondence An octet of Fitzgibbons Bernard Heinze, Sir Robert Helpmann, Year of the Queen n Rediscovering Snub Pollard. back from the on-set reports of film making between Coral and Alec Guinness, Vincent Byron Kennedy, Robert Krasker. A gossipy, sequin-studded inside account of n The fabulous Friedmans. to their (mostly) fraught conceptions. His Price, Guy Burgess, John Schlesinger, Alan Maggie and Nichaud Fitzgibbon: Melbourne University Publishing, the wild bus ride that preceded the opening n The mystery of the Prince of Wales Theatre. newest movie, The Contract, weaves in and Bates, Alan Bennett and many others. The Fitzgibbon Dynasty 680pp. RRP2007. $100 night of the hit musical Priscilla, Queen of the n Kristian Fredrickson remembered. out of the narrative and dozens of possible Oberon Books, 2007. 288pp. RRP An illustrated souvenir of the Victorian Jazz Desert by Jeremy Stanford, who created the $59.95. Available in Australia through www.currency.com.au Page 44 ON STAGE Summer 2008 Page 45 Letter to the Editor Exeunt

Spurling by stage designer Paul Kathner, remembered who took up the reins at St Martin’s on John’s departure. I read, with some sadness, in David and I had a couple of Exeunt in the Spring edition of rather large scenes together and a On Stage, of the death of British larger three-hander including actor David Spurling. I met up Edward (Teddy) Brayshaw. Also, with David Spurling at St Martin’s heading the cast, was the late Theatre on my return from the as King Henry II. UK in the sixties. Valda Aveling OBE Simon Barley Cleo Bullen Murray Copland David, despite his naughty The first production we did sense of humour, was a very together was Jean Anouilh’s serious and disciplined actor and Becket, a costume drama set in the it was a pleasure and fun to work times of Thomas à Becket. beside him. It was a sumptuous One of the productions missed production by Miss (Irene) in Exeunt, in which his great Mitchell and was the last comedy skills were displayed, was production for St Martin’s by the in late John Truscott before he went off to David Spurling as Louis VII of France (right) in A Funny Thing Happened on the . fame in many major areas of the Becket, with (left) Edward Brayshaw as Becket Way to the Forum Sir Charles Court Janina Cunova Heath Ledger Don Munro Raymond Stanley Vale, David. entertainment industry. and Brian Sutton as Secretary to the King of - Brian J. Sutton In this production he was ably assisted France, St Martin’s Theatre 1963. Port Melbourne n Her Majesty’s treasure Renovations at Melbourne’s Maj yield more surprises. er Majesty’s honorary For the record, Damn Yankees archivist, Mary was playing at Her Majesty’s at HMurphy, was the time. Hélène Jacoby Swieca Rene Kathriner Eve King Harold Love Steve J. Spears delighted when builders working The other is a receipt for 15 on backstage renovations shillings ($1.50) membership fee uncovered two rare pieces of paid by L.Rabey. It’s dated industrial relations memorabilia, 16 October 1959 — when My Fair found together under the stage. Lady was in its première season. Nearly 50 years old, both But who was the mysterious originated with the Australian L.Rabey? What did he or she do? Theatrical and Amusement Mary would love to hear from Employees’ Association, the anyone who knows, and who Andrea Stretton Brian Tait OAM Jennie Tate union representing backstage remembers the union president and front-of-house staff — stage and secretary, H. Sinclair and Valda Aveling OBE at the Sydney Town Hall. collection of the Victoria and Albert Museum, hands, mechanists, lighting William F. Lambert. 16.5.1920–21.11.2007 Her London début was in 1940 at Wigmore and albums with Joan Sutherland, Evelyn operators, ushers, ticket and As for the ATAEA, in 1993 it Valda Aveling, one of the most versatile Hall. During the war Aveling served as a Barbirolli, Luciano Pavarotti, , program sellers and so on. combined with Actors’ Equity and keyboard players of her generation, was born nurse with a mobile ambulance unit, and and . The union started life in 1910 the Australian Journalists’ into a musical family in the Sydney suburb of played in the famous National Gallery concert Aveling toured Australia several times. as the Australian Federated Stage Association to form the Media Chatswood. Her musical prowess developed series that boosted morale in London during She was awarded an OBE in 1982. Employees’ Association. It Entertainment and Arts Alliance. quickly, studying under Frank Hutchens, and the blitz. She toured for the ABC in 1947, but W Union memorabilia found underneath the she gave her first recital at 19; that same year then decided to re-base herself in London. became the Australian Federated It continues to represent an Simon Barley Theatrical Employees’ Association in 1912, stage at The Maj during recent renovations. extraordinarily diverse range of theatrical the NSW Conservatorium awarded her She played throughout Britain, Europe, North the Federated Theatrical and Amusement employees, although 50 years on the diplomas in both performing and teaching. America and the Far East. She taught at 1957–9.8.2007 Bambuco director Simon Barley passed away Employees’ Association in 1914 and the One of the pieces found is a notice of annual fee is somewhat more formidable: A scholarship enabled Aveling to study Trinity College of Music, London, from 1955 in Natimuk, Victoria, at the age of 50. Australian Theatrical and Amusement the union’s half-yearly general meeting at depending on an employees’ income, it harpsichord and clavichord in Britain with until the 1980s. Barley was founder and director of Employees’ Association in 1915. Trades Hall on 9 February 1958. runs from $260 Violet Woodhouse. She returned to Australia Her recorded legacy is large. It includes to $520. n in 1938 to make her piano début under recitals on rare historic instruments from the Bambuco, a company famous for constructing Page 46 ON STAGE Summer 2008 Page 47 * enormous bamboo installations. Over the went off the road in 1969, Cleo and Stafford come to the fore. His shouting during Theatre Company, Copland directed 18 ‘Music gives you a balance,’ he wrote. ‘It Then came the acclaimed Australian past 15 years, Bambuco accepted lived at Wallacia, outside Sydney, where the rehearsals became famous; so too were his productions, including Dance for Daddy, Dirty gives you a capacity to work with people. It thriller Two Hands (1999), opening the door to commissions from major festivals throughout Bullens established the first of their many lion actions to denote his displeasure, such as Linen, Antigone, Medea, No Man’s Land, The keeps you sane.’ a remarkably varied career in the United Europe and Asia. These events cemented safari parks. In 1997 Cleo and Stafford took a holding his nose and pulling a pretend Virgin, Upside Down at the Bottom of the World, W States and Australia that included 10 Things I Simon’s status as an audacious and truly mobile lion safari on tour through lavatory chain, or removing his shoe to smell The Greatest Man on Earth, Hosanna, The Janina Cunova Hate About You (1999), Monster’s Ball (2001), A original artist. This standing was recognised in . it. Colleagues remember his love of the Bacchae, Letters Home, Talley’s Folly and A Lovely Knight’s Tale (2001), The Order (2003), Ned Kelly 15.7.1914–1.8.1914 Australia when in 2005 he was rewarded a Following Stafford’s death in 2001, Cleo sense of ensemble among artists. Former Sunday for Creve Coeur. In 1990 Copland (2003), The Brothers Grimm (2005), Brokeback Dancer and teacher Janina Drazdauskaite- two year Australia Council Fellowship. continued to assist with the management of Opera Australia artistic director Moffatt edited the book published to mark Playbox’s Mountain (2005), Casanova (2005), Candy Ciunovas has died in Melbourne at 93 years Barley’s ephemeral constructions would the huge Bullen menagerie, which provides a Oxenbould recalled: ‘Most mornings he first year in the CUB Malthouse. (2006), I’m Not There (2007) and The Dark of age. take centre stage, for anything from a week to wide variety of animals for film and television could be found in the theatre pit or in a Copland lived simply and frugally, having Night (2008). Ledger won numerous awards, Also known as Ciunovas and Ciunoviene, six months, to disappear suddenly overnight. productions, promotions and advertising. dressing room, playing chamber music with willingly forsaken a secure academic salary and his performance in Brokeback Mountain Madam Cunova was born in Kaunas, Barley judged the success of his work by the W members of the orchestra or sitting in on a for the irregular but more personally earned him an Oscar Best Actor nomination. Lithuania. She joined the Lithuanian Ballet in absence it created. His passing mirrors his art; coaching session, making suggestions about satisfying income of the theatrical freelance. Ledger recently told Vanity Fair: ‘I only do Carlo Felice Cillario 1935 where she remained until, like many he has now created the ultimate absence in technique, repertoire and career path.’ In 1991 he suffered a stroke which left him this because I’m having fun. The day I stop 7.2.1915—13.12.2007 Lithuanians, in 1944 she fled to the West to the lives of his family and many friends. Carlo Felice Cillario died in Bologna. He with short-term memory loss, greatly inhibiting having fun, I’ll just walk away. I don’t want to -born Carlo Felice Cillario began as avoid the onslaught of the Red Army. She Barley’s stage work included Waiting for was 92. his creative capacity. Fortunately, though, do this for the rest of my life. There’s so much a child prodigy violinist but, after he broke a joined the Vienna State Opera Ballet and, at Effie (Athenaeum, 1992), In the Company of W Copland’s long-term memory was unimpaired; I want to discover’. wrist while playing football, he turned to the end of the war, the entertainment unit of Angels (Merlyn, 1993), Big Boys and Girls his knowledge of literature and language, and his W conducting. He studied in Bologna and made Murray Copland the US occupation forces. (Malthouse, 1994), Brecht x 2 (Arena, 1987), love of creative writing and classical music, his conducting début in Odessa in 1942. He 16.7.1935–1.11.2007 She and her husband Boris (a founding Don Munro The Potting Shed (La Mama, 1998) and 98.4 remained with him until the end. joined the Bucharest Philharmonic before John Murray Copland was born in member of the Lithuanian Ballet) and sister 1928–8.2007 percent DNA (Brisbane Powerhouse, 2001). W settling in Argentina after the war. Returning Aberdeen, Scotland. He attended Robert Regina then formed the Lithuanian Dance Munro began his career with Melbourne’s Theatre director and friend Robert to , he directed Milan’s Angelicum for Gordon’s College — where he was Classical Sir Charles Court Company and toured West Germany. New Theatre, where both as an actor and Chuter described Simon as being ‘one of the five years before his operatic career began to Dux in 1953 — and the Universities of 29.9.1911–22.12.2007 The family migrated to Australia in 1949, director he appeared in many productions most unique and original talents of Australian take off. Aberdeen and Oxford, from where he The 21st Premier of Western Australia, Sir living first in Perth then moving in 1958 to such as musicals — the original Reedy River, theatre.’ graduated with a BA with First Class W In 1961 Cillario made his Chicago Opera Charles Court has died at the age of 96. Melbourne. Trained in the Russian method, Under the Coolabah Tree, Song of ’54 — and and Glyndebourne débuts. He conducted Honours in English Language and Literature. Though Sir Charles will be remembered Cunova mastered the Royal Academy of revues such as Polling Daze and On Stage Cleo Bullen Zeffirelli’s celebrated production of with For the next 16 years, Copland taught as a towering political figure, in his early years Dance method. She eventually became an Vietnam. 1925–8.12.2007 at the Royal Opera House, literature and drama in Canada, Qatar, he was a musician — in fact, music was his acclaimed teacher, travelling the world as a Other productions include: Night of the Cleo Rinaldo was destined for a life in the London, in 1964. He is credited with Ghana and the Sudan. Increasingly drawn first love. His father was a plumber, but much sought-after guest. In 1996 Gretchen Ward- Ding Dong, The Torrents, All My Sons, The circus — her mother, Dulcie Gilbert, worked persuading Caballé to sing the bel canto towards the practice of the theatre, he moved preferred playing the tuba in an RSL band, Warren nominated her as one the world’s Crucible, One Flew Over the Cuckoo’s Nest, The as a snake charmer and wild animal trainer repertoire for which she later achieved to Melbourne in 1976 to pursue opportunities and he gave his son a cornet for his eighth ‘Ten 20th Century Masters’ in her 1996 book Physicists, After the Fall, America Hurrah, with the great Bostock and Wombwell’s international acclaim. as a freelance writer and director in stage and birthday. The Art of Teaching Ballet. Unsuitable for Adults, The Merry Wives of Circus in South Africa, using the stage name Cillario made his Australian début in radio. Charles, a quick learner, was soon playing Cunova was a beloved and respected Windsor, The Inspector General, An Enemy of the Freda Cuthbert; her father, Joseph Zaiton 1966, conducting Tosca with Marie Collier, His Gargoyles, which he devised, designed with local brass bands. He made a recording teacher at a number of Australian schools. People, Timon of Athens, Macbeth, The Good Rinaldo, was an Austrian stuntman, trapeze and Donald Smith at the and directed, was presented at the 1974 for the Melbourne-based Broadcast label in She was a strong disciplinarian who Woman of Setzuan, Romerholm and The artist and balloonist. They met and married in Adelaide Festival. He returned in 1968 for Adelaide Festival. Netsuke followed in 1978. 1928, was Australian champion cornet player demanded femininity from her female pupils Homecoming. At La Mama: Sonic Boom, James Australia. Their daughter, Cleo, was born in Tannhäuser in Canberra with the Elizabethan In 1977 Copland acted the mime-lead in at the age of 18, and soon he was conducting and perfection from all. She was still teaching McCaughey’s Othello, Primate and The Aliens. 1925. Trust Opera, the forerunner of today’s Opera Haupt’s The Sex Doll for Victoria State Opera. as well. His first professional job was with up to two weeks before her death. For Fly-On-The-Wall Theatre under In 1978 VSO staged his translation of Orpheus In 1940, at age 15, Cleo left home. She Australia. J.C.Williamson’s — in the pit at His Majesty’s W Robert Chuter, Don appeared in Sunset was virtually adopted by the Bullen family, He found the emerging Australian arts in the Underworld and his music theatre piece Theatre in Perth. There he played for the Children, The Seagull, Stage Door, The Singing who put her into training on the road with scene refreshingly free from the dramas, The Apology of Bony Anderson, which he wrote 1928 opera season with Toti dal Monte and Heath Ledger Forest, An Indian Summer and two seasons of their circus. She excelled at baton spinning, prima donnas and politics of the northern with composer Barry Conyngham; in a for Anna Pavlova when she danced for the 4.4.1979–22.1.2008 his most acclaimed role, Lytton Strachey in and was soon leading the circus parade. ‘But hemisphere’s opera world, and he chose to revised form it was also staged by the last time in Australia. He also played in the ‘I never studied acting in Australia,’ said Loving Friends. He was in four seasons of The then quick smart I got caught into riding the spend most of the rest of his career here. Seymour Group in Sydney. Copland worked ABC’s Perth radio orchestra. Heath Ledger. ‘I never had an empty stage Secret Garden. Don Munro’s last stage elephants,’ she said, ‘and then into the aerial Although his preference was for Wagner, he again with Conyngham on the opera Fly and Court was a leading figure in the WA and black pyjamas to run around in and appearance was in Julia Britton’s The Lost, act. And I was on my way.’ inevitably became known for his superb on Bennelong, a puppet opera presented by Musicians’ Union, where he honed his skills express myself.’ Nevertheless, Ledger did about Christopher Isherwood, at Chapel In 1953 Cleo married Stafford, Perce and interpretations of the great Italian repertory. Musica Viva and the Australian Chamber as a tough negotiator. study drama at school in Perth, enough to off Chapel. His films include: First Mate, My Lillian Bullen’s eldest son, in Adelaide. The Despite his considerable international Orchestra at the Sydney Opera House After his war service, Court continued to encourage him, at age 17, to try his luck in Country, What’s the Difference, The Search for the reception was — of course — held under the reputation, Cillario’s first commitment was to Concert Hall. accept occasional musical assignments: he Sydney. His first ‘real’ acting job came in a Golden Boomerang, One Tenth and the award- Bullen’s big top. Cleo and Stafford’s Australia. He saw Opera Australia through In 1980 Copland directed Jeannie Lewis played under Malcolm Sargent, when the low budget teen angst movie called Blackrock. winning TAX, produced by Robert Chuter. children — Mark, Brenton, Sonja and various artistic and financial crises, eventually in Piaf for J.C.Williamson Productions, Derek great British conductor visited Perth. He Ledger’s next role was more challenging: he On TV he had the lead in Doherty, and had Craig — all worked with the circus. retiring to Bologna after a star-studded Glynne, Clifford Hocking and Playbox. It continued with the RSL band until he entered played a gay cyclist in a TV series called featured roles in many dramas and mini Cleo continued to contribute to the show farewell performance in 2003. premièred at the Melbourne Comedy and parliament in 1953. In his later years Sir Sweat. He was in Home and Away for a very series. One of the true gentlemen of as an elephant handler, equestrienne, baton Despite his serene appearance, Cillario’s toured widely. Charles occasionally allowed himself to be short period, then went to the USA but could Australian theatre, Don Munro leaves a wife spinner and trapeze artist. After the circus Latin temperament and emotions would In a long association with Playbox persuaded to take up the conductor’s baton. not get a break. and two sons. *

Page 48 ON STAGE Summer 2008 Page 49 W in Claudia, The Patsy and Fresh Fields, then Noted Melbourne dancer and teacher Eve Among his many published books are In his later years Spears was a successful Me, Kate, after which he tried his luck in Raymond Stanley joined Doris Fitton’s Independent Theatre in King has died in Melbourne. several important contributions to performing crime writer. London. There he played in panto and scored Sydney, appearing in the première of Sumner King was educated at Lauriston Girls’ arts research: Congreve (1974), The Australian W a part in She Smiled at Me, a musical whose 21.2.1921–9.1.2008 Locke Elliott’s Buy Me Blue Ribbons in 1953, as School. She received her early training with Stage — A Documentary History (1984) and James fleeting West End season is one of British Veteran show business writer Raymond Andrea Stretton well as The Apple Cart, The Heiress, Venus Eunice Weston and Laurel Martyn at the Edward Neild, Victorian Virtuoso (1989). Love musical theatre’s more legendary debacles. Stanley has died in Melbourne. He was 87. 11.3.1952–16.11.2007 Observed, After the Fall and The Two Bouquets. Ballet Guild, where she became principal also contributed to Australasian Drama Studies Back in Brisbane Tait joined 4BK, from British-born, he came to this county in Arts journalist and former television presenter She was a foundation member of Actors’ dancer, performing in Giselle and Coppélia. and Currency Press’ Companion to Theatre in where he went to BTQ Channel 7. He was 1958 and for many years was a familiar figure Andrea Stretton has died from lung cancer. Equity. In 1949 King was a foundation member Australia (1995). there for two decades, reading news and at first nights in his capacity as Australian Melbourne-born, Stretton received a BA In 1958 Hélène toured widely in Salad of the National Theatre Ballet Company. The W hosting a series of locally-produced variety correspondent for The Stage (London), Screen from La Trobe University in 1973. She joined Days. For the UTRC she was in The Circle following year she joined the Borovansky Steve J. Spears shows: House Party, The Late Show, George International (London), Variety (New York) and SBS in 1985 and worked for the multicultural (1956) and ’s A Cheery Soul Ballet Company’s Jubilee season as a soloist. Wallace Junior’s Theatre Royal, The Brian Tait several other international publications. 22.1.1951–16.10.2007 broadcaster for more than a decade, starting (1963). She worked in early television variety Apart from another short stint with the Show and Noughts and Crosses. He won several He also wrote for the local periodicals Adelaide-born Steve J. Spears’ colourful at there in radio in 1985. She went on to and later had roles in Homicide and Prisoner. In National in 1953, she remained with Boro Logies. Australian Theatregoer, Masque and Theatre career was nurtured in university revues become a presenter and series editor of SBS 1969 she toured with Patrick Cargill and until 1956. He entertained troops in Vietnam. In the Australia. In late 2007 Raymond Stanley during the late 1960s and early ’70s. He television’s The Book Show and later Hugh Lloyd in Not Now Darling. Her last role King was a true lyrical classically styled 1970s and ’80s he appeared in long-running established his own website, www.showbuzz. abandoned his law studies for a career in the Masterpiece, on which she had on-camera and came in 1990 when she had a small part in dancer. She was also exceptionally beautiful, theatre restaurant shows at The Living Room info. This contains his previously unpublished theatre. His first productions were a rock behind-the-scenes roles. the thriller Jigsaw. with natural ash blonde hair, startling green and Henry Africa’s. He was also seen in biography of the actor William Archer, plus musical, Stud, and a vaudeville show, Africa: Stretton presented the ABC arts program Hélène’s autobiography, No Shops in eyes and alabaster skin. She scored notably drama, such as the thriller Wait Until Dark for 20 or so pieces on some of the great theatrical A Savage Musical. Sunday Afternoon from 1998 to 2001. While at Acland Street, was published in 2005. dancing the Prelude in Les Sylphides, the the Queensland Theatre Company. personalities he met and interviewed. Among His highly successful stage play The the ABC she was artistic director of two of the W Queen of the Wilis in Giselle, the Sylph in He continued to appear in fundraising them are Noël Coward, Beatrice Lillie, Elocution of Benjamin Franklin was first staged arts festivals held in the lead-up to the 2000 Graduation Ball, Fiance in Le Beau Danube, the shows into his later seventies. Marlene Dietrich, Sophie Tucker, Anna Rene Kathriner by Sydney’s Nimrod Theatre in 1976, with Olympics: ‘A Sea of Change’ in 1998 and Angel in Francesca di Rimini, Frivolity in Les In 2000 Brian Tait was awarded the Neagle, Bette Davis and Kenn Brodziak. The Gordon Chater as the embattled transvestite ‘Reaching the World’ in 1999. 28.6.1936–25.10.2007 Présages and Blanche in Pineapple Poll — and Medal of the Order of Australian in latter is an extract from Stanley’s full Popular and versatile performer Rene Robert O’Brien. It toured nationally before Stretton contributed to the Keating many others. After she retired from recognition of his services to the authorised biography of Brodziak which, Kathriner was born into the famous Swiss seasons in London, San Francisco and New Government’s Creative Nation cultural policy. performing, King married and raised three entertainment industry and the community. circus family, the Gassers. Kathriner came to York. It won three Obies (off-Broadway sadly, remains unpublished. The site also children. At the same time she joined her old After leaving the ABC she presented seminars W Australia in the early 1960s with his cousin awards) and an Australian Writers Guild contains some useful links. friend Audrey Nicholls, also a Borovansky and conducted interviews with writers for Frank Gasser, to join the former Bullen Bros AWGIE for best new play. It was revived by Jennie Tate Stanley had hoped to expand the contents principal, in establishing the Eve King and festivals, cultural groups and libraries. She Circus. Christine Duncan Productions in 2002 with 1947–28.12.2007 of the site from time to time. Audrey Nicholls School of Ballet. Both was a leading figure at Sydney Writers’ Week, W Over the years Kathriner worked with John Wood in the lead. Indefatigable and much-loved designer Jennie Martin Rubinstein and Lynne Golding taught and lectured regularly about Australian many Australian circuses. He assisted his Spears’ other plays include Glory, King Tate has died of cancer in Sydney. Her career Hélène Jacoby Swieca there. The school flourished for 40 years, fiction. She was a long-time book reviewer for cousin Frank in establishing the short-lived Richard, Mad Jean, When They Send Me Three encompassed theatre, opera, film and nurturing several generations of talented The Sydney Morning Herald and a contributing 28.1.1911–29.11.2007 Swiss Aerial Circus; later he and Frank took and Fourpence, Young Mo, There Were Giants in television. young dancers. book editor to Art & Australia magazine. For Hélène Jacoby’s career in theatre, radio and Those Days, People Keep Giving Me Things and their flying trapeze act to Germany. W several years she gave short courses on Tate graduated from Monash and La television spanned seven decades. Kathriner helped Frank, and later another The Death of George Reeves. writing and literary appreciation at Daku Trobe Universities and trained in set and Born in St Kilda, Hélène was only three cousin, Anton, in establishing the Swiss Royal Professor Harold Love Spears established himself as a TV Resort in Fiji. costume design at the Melbourne Theatre when she first sang in public. She won a Circus. For a time this combined with 4.8.1937–12.8.2007 scriptwriter, contributing to long-running In 2000 she received the prestigious Company. While based in Melbourne she scholarship to the Melba Conservatorium Ashton’s as Circus Circus. It went on to tour Musician and English scholar Harold Halford series such as E Street, , Hey Chevalier dans l’Ordre des Arts et des Lettres designed for the MTC, the Victoria State and, on Melba’s death in 1931, she and fellow for 30 years as Circus Royale. Russell Love has died in Melbourne. Dad…! and . In a long association (Order of Arts and Letters) from the French Opera, St Martin’s Youth Theatre, Playbox student Sylvia Fisher were given the honour Kathriner assisted Anton Gasser in setting Born in Brisbane, Love took his first with the Australian Children’s Television Government in recognition of contributions and the Tasmanian Puppet Theatre. of placing flowers on a memorial stone. Still up Silver’s Circus. Billed as the Great Renato, degree at the University of Queensland. Foundation he wrote award winning series to arts and culture and the fostering of In Japan she studied traditional and in her teens, she was with Brett Randall and Kathriner continued to perform his highly Following a temporary post in New South and telefeatures, including The Genie from French-Australian relations. contemporary stage design, and folk Irene Mitchell in the group that eventually acclaimed signature slack wire act; he also Wales, he went to Pembroke College, Down Under, The Big Wish and The Greatest performance in its own rural setting. formed the Little Theatre in South Yarra. W trained lions and dogs and broke in a lion act Cambridge, England, in 1960 for his Tune on Earth. Spears scripted the 1987 Tate worked for most major theatre Hélène worked in radio, most notably in for Sole Bros. In his later years Kathriner postgraduate work. He took his PhD in 1964. feature film Those Dear Departed, which starred Brian Tait OAM companies in Australia. Her credits include the ABC’s Village Glee Club. In 1934 Gregan returned to Silver’s, then worked on the tent He was Lecturer, then Senior Lecturer in Pamela Stephenson and Garry McDonald. 20.2.1927–17.10.2007 Ghosts, The Tempest, The Master Builder, McMahon cast her as Ilsa in the controversial crew with various Edgley shows. Both his English at Monash University from 1964 to As an actor Spears had screen roles in From 1959 until the mid-1970s Brian Tait was Capricornia and Scenes from an Execution for play Children in Uniform, first at the Playhouse 1973 and Reader, then Emeritus Professor of children followed him into the ring: Ramon Mad Max 2, The Empty Beach and Warm Nights the most familiar face on BTQ Channel 7. He Belvoir Street; Uncle Vanya, The Homecoming, in South Melbourne, and again at the Palace English from 1973 to 2003. débuted his slack wire act with Silver’s before on a Slow Moving Train and others. On stage was an impressive TV newsreader and host, The Rain Dancers, The Glass Menagerie, Three in Bourke Street. She went on to appear with Love’s interests were broad, but he going overseas; Chantel performed with he appeared in several productions of The with an incredible ability to ad-lib — but he Days of Rain, A Month in the Country, Master in So This Is Hollywood, also at the developed particular interests in music and Lennon Bros., and now teaches circus skills in Rocky Horror Show, in Hamlet for the was essentially a song-and-dance man who Class and for STC; Gulls, Macbeth, Palace. During and immediately after the war the performing arts. His researches into Hobart. Melbourne Theatre Company and On Our thrived on the theatrical. The Idiot and The Rose Tattoo for SATC; Katya she worked in radio in Sydney — she was Mrs Chinese opera in the goldfields developed W Selection for Adelaide’s Stage Company. He Brian William Tait was born in Roma, Kabanova, Tristan und Isolde, and Smith in Dad and Dave — and in Melbourne, into a more general study of the 19th-century was a stand-out in the Balmain Boys satirical Queensland. He started his show biz career Andrea Chénier for Opera Australia; and for with Hector Crawford, 3DB and the ABC. Eve King impresario W.S.Lyster, published in 1981 as revues at Sydney’s Kinsela’s in the early with ABC Radio in Brisbane. In the 1950s he the Adelaide Festival. She toured for Howard and Scott Productions 10.5.1930–5.10.2007 The Golden Age of Australian Opera. 1980s. toured Australia in JCW musicals such as Kiss Tate also taught design at NIDA. She Page 50 ON STAGE Summer 2008 Page 51 recently received an Australia Council had a whimsical, playful quality and a Fellowship to study the theatrical applications colossal sense of style.’ of digital imaging, and was studying for a W Master of Design (Honours) from the College Compiled with the invaluable assistance of: of Fine Arts VViiccttoorriiaa Janine Barrand, Ian Buckland, Ron Cameron, An extensive archive of Tate’s work is Robert Chuter, Circus Fans of Australasia, TTheheaattrreess held by the Performing Arts Collection of Mimi Colligan, Dance Australia, Paul Dellit, South Australia. At the time of her death Tate Trust Carrillo Gantner, Horrie Harvey, Chantel Trust was working on her fourth production for Bell Kathriner, Barry Kitcher, John Langrell, Shakespeare, a new version of As You Like It. Andrea Lemon, Rosaleen Love, Audrey Another of her productions, a version of Don O A Nicholls, Peter Pinne, Robert Taylor. N ST E Giovanni directed by her close friend Elke G Neidhardt, will be in Opera Australia’s winter The photograph of Cleo Bullen with her pet ISSN 1444-0156 season. Neidhardt said, ‘Jennie had puma Kota was taken at her home in something that no one else had — an Wallacia, NSW, in 2006 by Cal Mackinnon Summer 2008 Vol.9 No.1 understanding of the characters. We always for Andrea Lemon’s Circus Diaries exhibition had long talks about each character and at the Arts Centre, May–July 2007, and is Contents modelled the clothes around that. They were used with their kind permission. n always spot on, so classy and so beautiful. She Stars come out for the Palais 1 Gus Australia Day honours 4 Well worth the waiting 5 goss How intriguing to see the finery of the Oh my! How it’s grown 8 Forum featured It didn’t always close on prominently in the steamy Saturday night 10 new brothel-based Rising stars to stay at the Astor 13 blockbuster, Satisfaction, Sounds like ‘Stage Door’ memories 15 on Foxtel... Delving into Nick Cave 16 Satisfaction guaranteed? Gus goss 16 Winging it 17 Casting call for the Comedy 19 The Madwoman remembered 20 Dedicated to the preservation, renovation and promotion of our theatre heritage. Eastern Arcade not gone west — yet 21 Annual subscription of $25 (general), $50 (corporate and overseas), Gus goss 21 $10 (student)brings you a range of events, special offers, Melbourne stage-by-stage 22 discounts—and four issues of On Stage Show music thumbnails 26 Contacting us: By mail: The Secretary, Victoria Theatres Trust, Death of a long-lived ‘minnow’ 28 PO Box 382, Malvern, Victoria 3144, Australia Bless ’em all 30 By e-mail: [email protected] Madame Melba, or merely Miss Mitchell? 30 On Stage is published quarterly by the Victoria Theatres Trust. Editor: David Cullinane. The contents are subject to copyright for both text and illustrations and are not to be reproduced Lola Montez 31 by any means, including print or electronic media without prior permission of the copyright Limelight 36 holder(s). Information published in On Stage is done so in good faith. The Trust does not accept Critical condition 37 responsibility for any errors which may occur but would be pleased to correct any error A colonial entrepreneur 38 or omission. All the world’s a stage 42 Deadline for articles and pictures for the Autumn issue of On Stage is Friday, 28 March, First reading 44 2008. Letter to the Editor 46 Send them to The Editor at the above postal or e-mail address. Her Majesty’s treasure 46 Every effort will be made to return any hard copy illustrations if a specific request is made to do so, but no responsibility will be taken over their return. Digital images are acceptable at 300dpi. Exeunt 47 © February 2008 Gus goss 52

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